Academic Art

Here for your consideration is a beautiful highly detailed bronze done in the forth quarter of the nineteen century after the work of Jean Boulogne, known as Giambologna. Boulogne’s sculpture was done in marble and was completed between 1579 and 1583. The sculptor of this bronze is Antonin Mercie, a well known French sculptor born in 1845. The bronze represents the Rape of the Sabine Women (Latin: Sabinae raptae), also known as the Abduction of the Sabine Women or the Kidnapping of the Sabine Women, was an incident in Roman mythology in which the men of Rome committed a mass abduction of young women from the other cities in the region. It has been a frequent subject of artists and sculptors, particularly during the Renaissance and post-Renaissance eras. Signed on base “Mercie” for Antonin Mercie.. In very good condition wirh original brown patina. The base which depicts rocks is bronze and has been painted a matt black. Provenance:: A Sarasota estate. Mercié, (Marius Jean Antonin Mercie...

BARON Dominique (19th Century) The Ladies and the dove Oil on canvas signed Low Right Old frame gilded with leaves Dim canvas : 59 X 75 cm Dim frame : ...

Louis Charles Auguste Couder (1789-1873) Portrait of a young man signed on the right border Pastel on paper 28.5 x 21 cm In good condition In a modern frame : 48 x 40.5 cm Augu...

A remarkable work by Charles Nicolas Etienne Mayre, an academic painter born in Choisy le Roi near Paris in 1819. He studied with the masters Michel-Martin Drolling and Leon Cogniet...

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...

Jean-Ferdinand Chaigneau was born in the shipping center of Bordeaux on March 6th, 1830. There he studied drawing under the academic painter Jean-Paul Alaux (1788-1858). In 1847...

Original stipple engraving on a verge type of hand laid paper. The overall size of the engraving is 15.75 inches by 12.75 inches The image size of the engraving is 14 inches by 12 i...

Balmer Paul Friedrich Wilhelm (1865 - 1922) Three Children in The Garden (1890) Oil on canvas signed and dated low right Old frame regilded with gold le...

CLARY Jean Eugène (1856-1930) Winter Landscape by the River Oil on canvas signed low right Frame gilded with leaves Dim canvas : 46 X 80 cm Dim frame : 68 X 103 cm CLARY Jean Eugèn...

Albert-Ernest Carrier-Belleuse (France, 1824-1887) A rare seated bronze statue of Benjamin Franklin holding his walking stick and hat, with a book in his ri...

The Original American Colony was a colony established in Jerusalem in 1881 by members of a utopian society led by Anna and Horatio Spafford. Now a hotel in East Jerusalem, it is still known by that name today. After suffering a series tragic losses following the Great Chicago Fire of 1871 (see hymn "It is Well with My Soul"), Chicago residents Anna and Horatio Spafford led a small American contingent in 1881 to Jerusalem to form a utopian society. The "American Colony," as it became known, was later joined by Swedish Christians. The society engaged in philanthropic work amongst the people of Jerusalem regardless of religious affiliation, gaining the trust of the local Muslim, Jewish, and Christian communities.During and immediately after World War I, the American Colony carried out philanthropic work to alleviate the suffering of the local inhabitants, opening soup kitchens, hospitals, orphanages and other charitable ventures. Towards the end of the 1950s, the society's communal residence was converted into the American Colony Hotel. The hotel is an integral part of the Jerusalem landscape where members of all communities in Jerusalem still meet. In 1992 representatives from the Palestine Liberation Organization and Israel met in the hotel where they began talks that led to the historic 1993 Oslo Peace Accord. Panorama of Jerusalem, c. 1890-1920 The Colony moved to the large house of a wealthy Arab landowner, Rabbah Husseini, outside the city walls in Sheikh Jarrah on the road to Nablus. Part of the building was used as a hostel for visitors from Europe and America. A small farm developed with animals, a butchery, a dairy, a bakery, a carpenter's shop, and a smithy. The economy was supplemented by a shop selling photographs, craft items and archaeological artifacts. The American Colonists were embraced by the Jewish and Palestinian communities for their good works, among them, teaching in both Muslim and Jewish schools. Photography Around 1900, Elijah Meyers, a member of the American Colony, began taking photographs of places and events in and around the city of Jerusalem. Meyers's work eventually expanded into a full-fledged photographic division within the Colony, including Hol Lars (Lewis) Larsson and G. Eric Matson, who later renamed the effort as the Matson Photographic Service. Their interest in archeological artifacts (such as the Lion Tower in Tripoli pictured here), and the detail of their photographs, led to widespread interest in their work by archeologists. The collection was later donated to the Library of Congress. World War I When the Ottoman Empire entered World War I as an ally of Germany in November 1914, Jerusalem and Palestine became a battleground between the Allied and the Central powers. The Allied forces from Egypt, under the leadership of the British, engaged the German, Austrian and Turkish forces in fierce battles for control of Palestine. During this time the American Colony assumed a more crucial role in supporting the local populace through the deprivations and hardships of the war. Because the Turkish military...

A very romantic and detailed painting of figures enjoying the views of a waterfall in summertime, Europe Circle of Caspar David Friedrich (Germ...

Antonietta Brandeis (Czech / Italian, 1848 – 1926) Piazza San Marco, Venice Oil on panel Inscribed with studio stamp on the reverse 8.1/4 x 4.3/4 in. (21 x 12.1 cm.) Born in the small Bohemian village of Miskowitz on January 13, 1848, Antonietta Brandeis lost her father at an early age, and probably then moved north to Prague with her widowed mother. At some point in the 1860s, she began studying painting with the Czech artist Karel Javůrek (1815-1909). Although nothing is known about the Brandeis family finances during this period, it would have been unusual for a bourgeois young woman to study painting in any serious fashion; this suggests that perhaps Antonietta’s mother was hoping to provide a marketable skill for her daughter in the world of fine art. During the 1850s-and 1860s, Prague was the center of the Czech National Revival, a cultural movement whose purpose was the rejuvenation of the Czech language as well as the reclamation of a uniquely Czech identity after centuries under the domination of the Hapsburg Empire. Brandeis’s instructor Javůrek seems to have sympathized with this movement, creating history paintings based on Czech–rather than Hapsburg–moments of significance. Brandeis studied with Javůrek for a brief period, undoubtedly learning the basics of academic painting. It is likely that he also introduced her to the artistic ideas then current in Belgium and France, having studied himself with Gustave Wappers at the Royal Academy of Fine Arts in Antwerp and with Thomas Couture at the Ecole des Beaux-Arts in Paris. This exposure to European Romanticism and Realism would have offered the young Brandeis a sophisticated understanding of contemporary aesthetic issues. In the late 1860s, Brandeis left Prague and moved to Venice with her mother, who had married a Venetian gentleman. Once there, she enrolled in the Accademia di belle arti (Academy of Fine Arts) studying with Michelangelo Grigoletti, Domenico Bresolin, Napoleone Nani, and Pompeo Marino Molmenti, all of whom were mainstream academic painters. She graduated in 1872 with a number of honors to her credit, and a Premio award in landscape painting. According to the listing in the Atti della reale Accademia di belle arti in Venezia dell’anno 1872, Brandeis was one of only two women graduating that year, the other being Carolina Higgins, an English woman. The admission of women to officially sponsored fine arts academies in Europe and the US was rare in the 1870s, and enrollment in life classes where nude models posed was almost universally unacceptable for female students. The fact that Brandeis and Higgins seem to have been the only women at the Accademia in the early 1870s tends to suggest that they participated in the same classes as their male classmates. In fact, Brandeis is cited for an award in the “study of the nude”. After graduation, Brandeis began to establish a career as a landscape painter in Venice. In 1873, she showed four paintings at the annual November exposition at the Accademia; these included one portrait, two landscapes, and one vedute of the Grand Canal that was commissioned by an English woman. Although there is no record of who this English woman was, it is tempting to think that she may have been someone Brandeis met through her classmate Carolina Higgins. Over the next few decades, Brandeis seems to have exhibited regularly at the annual Accademia shows, but her primary focus was increasingly on painting Venetian scenes (vedute) that appealed to the always plentiful crowd of visitors to Venice. She specialized in relatively small scale paintings of landmarks in her adopted city, and gradually became part of a community of expatriate artists who shared this interest. Among her friends were the Peruvian artist Federico de Campo and many of the Spanish artists then living in Venice such as Mariano Fortuny, Martin Rico and Rafael Senet. It should be noted too that by the end of the nineteenth century, Venice had become a regular stop for any painter who was particularly fascinated with color and light. Some, like the Americans Walter Gay and John Singer Sargent, spent months or even years living there, and others simply made regular visits, such as Pierre-August Renoir and Claude Monet. However, nearly all painters who traveled through Europe made at least one journey to see Venice’s unique environment. More important for painters like Brandeis were the travelers who came as tourists and wanted a souvenir to take home with them. By the late nineteenth century the aristocratic tradition of the Grand Tour had been considerably democratized by the industrial revolution, which had not only created a newly wealthy merchant class, but had provided the railroad as a means of convenient travel across long distances. Venice was no longer the exotic province of the European aristocracy, but a city that lured bourgeois romantics from all over the world. Brandeis’s images of the city were especially popular with Austrian and English visitors. Brandeis also painted at least three known altarpieces, all for churches in what is today southern Croatia. In the late 1870s when she received the initial commission, the Dalmatian coast of Croatia had trading and cultural ties to Italy dating back to the Roman Empire; however, it was the region surrounding the Republic of Venice that was most influential in the nineteenth century. During this time, the new bishop of Split (Spoleto), Marko Kalogjera, was actively involved in building new churches in Croatia as well as updating the older ones, and it is likely that he was instrumental in hiring Venetian painters for a variety of commissions. In fact, Michelangelo Grigoletto, one of Brandeis’s instructors at the Accademia, had earlier received a commission for a painting in a parish church in the town of Vodice. Given the remote location, it is not surprising that Bishop Kalogjera would turn to Venice when hiring artists for major projects in the towns of Blato and Smokvici. The religious traditions of Venetian painting are clearly evident in Brandeis’s Madonna and Child with St. Vitus at the Church of St. Vitus in Blato. The composition is based on the tradition of the sacra conversazione (sacred conversation) between the Virgin Mary and the saints. In this image, Brandeis presents not only St. Vitus, but also a young man who is apparently suffering from one of the illnesses that the saint was known to cure. The large canvas is surrounded by architectural elements above the altar and creates a dramatic statement as worshippers look up at the elegant Madonna. Brandeis also created two paintings for the church of Our Lady of Carmel in the neighboring town of Smokvici. One features another sacra conversazione, this time with St. Lucia, St. Anthony of Padua and St. Roch. The other is an altarpiece showing the Presentation of Christ in the Temple. These three large scale paintings must have been started in 1879 or 1880 and probably finished several years later. Concurrent with the major altarpiece commissions, Brandeis continued to produce many vedute for travelers in Venice. She also made a number of trips to Florence, Bologna and Rome where she painted cityscapes of the architectural and urban scenes featuring classical and renaissance motifs. The popularity of her work was further enhanced by the production of chromolithographs of her paintings, probably beginning in the late 1880s or 1890s. She expanded her market even further in 1880 when she exhibited three paintings at the International Exposition in Melbourne. In her personal life, Antonietta married Antonio Zamboni on October 27, 1897; Zamboni was a knight of the Order of Saints Maurizio and Lazzaro, originally founded by the Duke of Savoy in 1572, but closely affiliated with the newly united Kingdom of Italy in the late nineteenth century. Brandeis’s enthusiasm for Venice seems to have waned somewhat by 1900 when she was quoted as saying that she was still “a foreigner” in Venice, and she no longer participated in any Italian exhibitions, but sent all of her paintings to London. [v] Brandeis’s early association with English collectors seems to have evolved into a relationship that served her well for many decades. Nonetheless, she remained in Venice until the death of her husband in 1909, at which time she moved to Florence. The full story of Antonietta Brandeis’s life remains unknown, but she seems to have been a woman who challenged social conventions on many levels: as a woman studying in an almost exclusively male academy...

Charming impressionist oil on canvas from the late 19th century representing a view of a quay in Rouen on the Seine with a herd on pasture and Rouen Cathedral...

If Vogue magazine existed in the late 19th century, this sitter could be on the cover. The depth of her feminine beauty and sweetness is mesmerizing. She looks at you. You look ...

Work on paper Stamp of the workshop of O. Vautier Dimension of the passe-partout framing 52.5 x 38 cm

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...

Isidore Pils (1813-1875) An Orientalist scene Signed lower left Pencil and heightenings of watercolor on paper ​​​​​​​15 x 24 cm paper yellowed by time, stains and a small repaired tear on the upper right edge. In a modern mount 40.5 x 53 cm Isidore-Alexandre-Augustin Pils (1815–1875) was a French academic painter of religious and military subjects. Pils was born in Paris as the son of a soldier François Pils. At the age of twelve, he studied with Guillaume Guillon-Lethière for four years. In 1831 he became a student at the École des Beaux-Arts and studied under François-Édouard Picot. He competed for the Prix de Rome, which he won in 1838 for a history painting, St. Peter Healing a Lame Man at the Door of the Temple. Although in poor health, Pils then spent the customary three years at the French Academy in Rome at the Villa Medici, which then had Jean Auguste Dominique Ingres as its director. While in Italy he visited Naples, Venice, and Florence. Pils's earlier paintings have religious themes. In 1849 he completed his most famous work, Rouget de L'Isle Singing La Marseillaise, which now resides at the Musée historique de Strasbourg. After experiences travelling with French troops through the Crimea, his themes took on military and nationalistic subjects. He later produced many military scenes during the siege of Paris during the Franco-Prussian War of 1870. Pils was appointed professor of painting at the École des Beaux-Arts in 1863 but left the same year for two years in Algeria. In 1868 he was elected to seat #14 of the Académie des Beaux-Arts. Among his students were Adrien Moreau...

Here for your consideration is an outstanding still life painting of plums and assorted fruits by the master English artist, Oliver Clare. Signed lower right. Circa 1890. In very g...

The Young Shepherdess by Charles Amable Lenoir (1860-1926) Oil on canvas 48 x 32 inches unframed (121.92 x 81.28 cm.) 58 ½ x 42 ¾ inches framed (148.59 x 10...

In the Bazaar II, 1834-1855, by Theodore Frere (1814-1888) Oil on wood 7 x 5 inches unframed (17.78 x 12.7 cm) 10 ⅝ x 9 inches framed (26.9875 x 22.86 cm) Signed on lower right Desc...

Jean-Ferdinand Chaigneau was born in the shipping center of Bordeaux on March 6th, 1830. There he studied drawing under the academic painter Jean-Paul Alaux (1788-1858). In 1847...

Work on paper Stamp of the O. Vautier workshop Dimension of the passe partout frame 52.5 x 38 cm

"SEESAW--Gloucester, Massachusetts" is an original wood engraving after Winslow Homer. The artist initialed the piece in the lower right. This print depicts six children on a seesaw ...

If Vogue magazine existed in the late 19th century, this sitter could be on the cover. The depth of her feminine beauty and sweetness is mesmerizing. She looks at you. You look ...

George Brookshaw's (1751-1823) beautiful "Plums" hand colored aquatint engraving from his "Pomona Brittanica", considered to be the finest British botanical large format treatise of the 19th-century. His engravings were unique for their rich tones and colors, elegant compositions with the fruit seeming to float on a mottled sumptuous background. There are purple, mustard-colored plums on brown branches with green leaves over a two-tone dark brown and light tan background. The print is presented in an ornate bronze-colored wood frame with gold-colored inner and outer trims and a triple mat. The outer mat is a marbled light...

Departure of the Caravan, 1834-1887, by Theodore Frere (1814-1888) Oil on wood 10 x 16 inches unframed (25.4 x 40.64 cm) 18 ¾ x 24 ¾ inches framed (47.625 x 62.865 cm) Signed on bott...

GRISAILLE 19th Century (anonymous) Cherubs asleep Part of "Rococo Style" made famous by François Boucher (1703 - 1770) Oil on canvas Circa 1850 Old frame re-gilded Dim canvas : 33 X ...

In the Bazaar I, 1834-1855, by Theodore Frere (1814-1888) Oil on wood 7 x 5 inches unframed (17.78 x 12.7 cm) 10 ⅝ x 9 inches framed (26.9875 x 22.86 cm) Signed on lower right Descr...

100 Chrysanthemums Keika Hasegawa Kyoto, Japan Meji Era (ca. 1895) Japanese Woodblock Printed in Color with some Touching by Hand Search listings for companion pieces. Keika Hasegawa was active from 1893-1905. His most famous work is 100 Chrysanthemums, a glorious celebration of Japan’s most famous flower. As the Imperial Seal...

Jacques Lienard (1779-1848) French Napoleon Ist Miniature on Porcelain Signed Porcelain: 5 1/2 high x 4 1/5 wide

Circa 1890 Signed verso on stretcher bar Original period gold leaf frame Overall size framed 21 x 18 in

Our painting represents a military scene — an event during the war between European settlers and Native Americans. Oil on canvas, signed and dated at the bottom right : Imogene Robinson Morrel- PARIS 1874 American School XIXth century Imogene Robinson was born in Attleboro, Massachusetts, at the beginning of the 19th century. She studied art at the age of 16 in Newark New Jersey, then in New York City. In 1856, Robinson went to Europe for the first time. She studied under Adolf Schroeder and Wilhelm Camphausen in Düsseldorf, Germany. Then, Europe called to her again. She went with a friend, Elizabeth Gardner. In July 1864, they arrived in Paris and made a living copying great works from the Louvre and Luxemburg museums for American patrons. The two artists were in close contact with the colony of American artists in Paris, but they likewise befriended French painters Meissonnier and Bouguereau. In 1869, Imogene Robinson married Colonel Abraham Morrell. In 1871, Gardner moved into her last place, 73 rue des Petits Champs and became neighbors with Bouguereau. Several years later, in 1895, she married him. As long as we can follow her official path to the Salons of 1868 and 1869, her entrée as the first woman at the Academy Jullian in 1873, we observe that Robinson Morrell did not participate in the Parisian art demonstrations. She studied portraiture and landscapes under François–Louis Français (1814-1879), and took certain courses taught by Thomas Couture (1815-1879), the last historical painter of the second half of the 19th century. Couture received many students, most notably Americans including Hunt and Longfellow. It was during this period that Imogene Robinson Morrell began her great historical compositions and painted our version of the First battle between the puritans...

DESCHIENS – ASTRUC (1861) Table settings with Orchids Oil on canvas signed down right Frame gilded with gold leaves Dim canvas : 82 X 116 cm Dim Frame : 107 X 141 cm DESCHIENS – ASTRUC Pauline Hélène (1861-NC) French school 19th - 20th century Born the 25th of August 1861 in Angers Painter of flowers and marines. Pupil of Pierre Bourgogne...

This is a beautiful four-color lithograph of the Louvre by the Seine by Philippe Benoist. It is double-matted in light blue with a gold tone wooden frame. Phillip Benoist was a p...

ADAM-LAURENS Suzanne Adrienne, aka Nanny (1861-1915) Venice, Lagoon with gondolier Oil on canvas signed lower left Frame gilded with leaf canvas size: 55 X 42 cm Frame size: 64 X 77 cm French painter born in Crest (Drôme ) February 20, 1861 Died in 1915 Landscape...

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...

The Crossing, 1855, by Theodore Frere (1814-1888) Oil on wood panel 9 x 14 inches unframed (22.86 x 35.56 cm) 17 ¾ x 22 ½ inches framed (45.085 x 57.15 cm...

LA BRELY Auguste, de (1838-1906) Young lady on the writing Desk Oil on canvas signed low right Framed by Gault (Paris) Dim canvas : 46 X 38 cm Dim frame : 66 X 58 cm LA BRELY Auguste, de (1838-1906) French painter 19th century. Born 1838 in Fuissé (Saône et Loire). Died 20th of April 1906 in Lyon. Painter of genre scenes, portraits. Pupil of Charles Gleyre (1806-1874) at the Ecole des beaux-Arts de Paris. He took part at the Salon de Paris from 1863 to 1882, then Salon de Lyon and cities around. His portraits put emphasis on the finish of the matter and clothes as much as on the model psychology. Muséeums : - Paris (Musée Renan-Scheffer) « Victorien Sardou and his family » - Tournus : « Young woman writing...

Oil on wooden panel painting of horse riding French cavaliers in battle. Signed lower left. Not dated. Original period gilded frame in fine condition. Painting has been recently professionally cleaned. Painting and frame circa 1875. Overall framed measurements are 16 by 14 inches. Condition of the painting is very good. Provenance: Saint Petersburg, Florida estate. Charles Michel Guilbert D'anelle was a pupil of Horace Vernet ( known for his military paintings...

JOHNSON’S HOUSEHOLD BOOK OF NATURE Craig Hugh, Editor Henry J. Johnson, Publisher New York, 1880 64 Chromolithographs “…full & interesting description...

Here for your consideration is a vibrant portrait of a pair of Bavarian flower girls in traditional dress. The painting is unlined and has recently been cleaned. Circa 1875. The pain...

Fabulous watercolor of Venice, Italy done by the Austrian artist, Theodor Alphons. Signed and dated lower left, 1895. Framed in a beautiful custo...

JOHN GOULD A Monograph of the Trochilidae, or Family of Humming-birds. Drawn and lithographed by John Gould, Elizabeth Gould, H.C. Ritcher, and W. Hart. Richard Bowler Sharp supplement 1880-87. Published by John Gould. Printed by Hullmandel and Watson. London, 1849-61. Lithographs with original hand-color. Excepting the supplement, most with gold leaf illumination. 418 plates. John Gould was the most prolific ornithologist and recorder of birds in England during the 19th century. Born a gardener's son, he was raised on the royal estate at Windsor. He became a gardener at Ripley Castle, where he learned the art of taxidermy, a skill so useful in his future career. In 1827, N.A. Vigors required a taxidermist for the newly formed Zoological Society of London; the job came to Gould who moved to London and married Elizabeth Coxen. She was to become a skilled collaborator, both as draughtsman and as supervisor in the lithographic shop. It was Elizabeth who was responsible for transferring the drawings made by Gould, from the specimens sent to him from all over the world, onto lithographic stone. Unable to find a publisher, Gould resolved to publish his works himself. Illustrating over 3000 species of birds and animals and producing over forty folio volumes, Gould's works became great financial successes. He realized a considerable fortune. The most well known prints are from his outstanding monograph on hummingbirds. They are unequaled in the history of ornithology. The brilliant coloring is highlighted with gold and a transparent luster creating metallic hues, a technique which has never been successfully reproduced. The birds appear in charming groups of twos and threes surrounded by realistic foliage. Each bird is drawn to scale and is anatomically correct to the smallest detail. References: John Gould’s Hummingbirds...

Neoclassical landscape etching in the style of Joseph Vernet. The work includes a group of fishermen with nets and a boat set against an idealized backgr...

Grand Tour Fine Group of Sculpture in Bronze after a Louvre Diana of Versailles or Artemis, Goddess of the Hunt. Diana is represented at the hunt, hastening forward, as if in pursui...

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...

Four hand colored etchings and aquatints depicting interiors within English royal residences, including "The Blue Velvet Room at Carlton House", "The Queen's Library at Frogmore", "T...

100 Chrysanthemums Keika Hasegawa Kyoto, Japan Meji Era (ca. 1895) Japanese Woodblock Printed in Color with some Touching by Hand Search listings for companion pieces. Keika Hasegawa was active from 1893-1905. His most famous work is 100 Chrysanthemums, a glorious celebration of Japan’s most famous flower. As the Imperial Seal...

Edouard Detaille (1848-1912) The Young Paperboy 16.5 x 20.5 cm Watercolor and brown ink on paper Signed lower right In good condition, the paper is slightly yellowed by time, some o...

KUWASSEG Charles Euphrasie (1838-1904) Landscape with Windmill Oil on canvas signed low right New Golden frame Dim canvas : 75 X 108 cm Dim frame : 104 X 140 cm KUWASSEG Charles Euphrasie (1838-1904) French Painter 19th Century born on September 29, 1838 in Draveil (Essonne). Died in October 1904 in Paris Painter, Watercolor Lively landscapes, seascapes, panoramas Charles Kuwasseg...

George Brookshaw's (1751-1823) beautiful "Peaches, Nectarines" hand colored aquatint engraving, plate 38 from his "Pomona Brittanica", considered to be the finest British botanical large format treatise of the 19th-century. His engravings were unique for their rich tones and colors, elegant compositions with the fruit seeming to float on a mottled sumptuous background. The pale green and peach-colored peaches and the pink and green flowers lie on a rich dark brown-colored background. The print is presented in an ornate bronze-colored wood frame with gold-colored inner and outer trims and a triple mat. The outer mat is a marbled light...

GRISAILLE 19th Century (anonymous) Cherubs asleep Part of "Rococo Style" made famous by François Boucher (1703 - 1770) Oil on canvas Circa 1850 Frame re-gilded Dim canvas : 50 X 70 c...

JOHN WILKES (1750-1810) Encyclopedia Londinensis after Reinhold and Edwards London, 1801-1828 Copper Plate Engraving Original Hand-Color At its best, the zoological art of ...

Neapolitan school (early 19th Century) A visit to Pompei on the the Grand Tour Gouache on paper Inscribed ‘Porzione del quartiere a Pompei’ and ‘In Nap...

Antoine-Louis Barye was acclaimed as the finest sculptor of the French Animaliers School. As a 19th century sculptor he was an advocate for both naturalism and romanticism. This rear...

Edouard Detaille (1848-1912) A trophy of arms 11.5 x 20 cm Pen and ink with heightenings of white gouache on paper Signed and dated 1885 lower right and annotated "Armée française...