Romantic Art

Lithograph on fine vélin paper, mounted on archival mat-board, as issued. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Eugène De...

Alain Foussier, born in France living in the Netherlands, perfects the mood and spirit of Spaniel dogs with his portrait photography. His Spaniel dog a...

A Yorkshire Dell or The Heron’s Pool. (after J.M.W. Turner, R.A., 1775-1851.) Soft-ground etching and mezzotint. Hardie 85. mezzotint over etching on India paper printed on chine-co...

Portrait of Sarah Bernhardt – Drawing by August Hagborg This finely rendered pencil drawing, executed with grey and black wash and measuring 35 × 33.1 cm, is signed “Hagborg.” It is...

SALE ONE WEEK ONLY "The Rev. and Mrs. E. H. Cumpston" a silhouette cut by August Edouart is in very good condition and cut by the artist sometime between 1839 - 1849. On the lower f...

Interesante obra del prestigioso artista italiano y afincado en Barcelona Enrico Creci (1878-1935) Esta obra es de aproximadamente 1910 Como pueden ver en las fotografías, la obra ...

CHAMBERLAIN is a porcelain clay sculpture with Turquoise Glaze and slip, by Brooklyn, New York artist Rene Murray. It measures 23"H x 19"W x 9"D. It's an e...

Wiehler Handmade Gobelin Tapestry by Maestro Vera Petrova - Sapundjieva, Bulgarian artist 1912 - 1985 About the artwork TECHNIQUE: Wiehler Handmade Gobe...

This bronze sculpture by Auguste Moreau is a beautiful work from the Romanticism period. Auguste was the third son of sculptor and painter ...

This diptych explores a playground at dusk, when the swings and riding toy are abandoned waiting for the children to return. This time of day has always be...

  Peasant Girl And Little Lady With Toys. Europe, Romantic Era, Mid-19th Century This mid-19th century painting, done in oil on canvas, belongs to the Romantic era. It portrays a t...

Limited edition 10. Print, signed by the author.

"Hyde Park on Sunday" - Hand Colored Etching from "Old and New London" Detailed etching of a typical Sunday in Hyde Park around 1800 after an etching by Ed...

Timber Raft on the Rhine (after the watercolor by J.M.W. Turner in the National Gallery). 1898. Mezzotint. Hardie 66. 8 1/4 x 11 11/16 (sheet 10 5/16 x 13 1/2). Edition 100. A rich, ...

Lithograph on fine vélin paper, mounted on archival mat-board, as issued. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Eugène De...

Pastel coastal landscape painting attributed to Irish painter William Sadler. The work features a Martello tower, a kind of defensive fort that can be f...

Flowers were one of Culver's favorite subject. This stunning portrait of a red flower draws the viewer into its very center as powerfully as any flower portrait by Georgia O'Keeffe. It is the idyllic flower that can be described as in the romantic style wherein the subject depicted is a more desired or dramatic version of what actually is. It is signed and dated by the artist on the lower left. This piece has been professionally reframed with acid-free matting and museum glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles Culver...

Lithograph on fine vélin paper, mounted on archival mat-board, as issued. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Eugène De...

Midsummer-Night's Dream is an original etching engraved by Jean Pierre Simon after the iconic romantic painting by Heinrich Füssli in 1790. Titled on plate: Midsummer-Night's Dream, Act IV, Scene I: A wood - Titania, Queen of the fairies, Bottom, fairies attending Mint conditions with little tears along the margin, and a glued tear in the center. Some light little foxings. The original oil painting is displayed at Tate Britain in London. It was commissioned for the Boydell Shakespeare...

Serenade - Pietro Colonna Italia 2005 - Oil on canvas cm. 60 x 30 The painting by Pietro Colonna depicts a romantic scene in which the young man plays the lute to his sweet girl, th...

Ventura A. Pérez (1992) is one of the most seductive artists on the contemporary Spanish scene. After earning a doctorate in contemporary art from the University of Vigo, he moved to...

Born in 1944 in the canton of Fribourg, Gilbert Pauli currently lives in Geneva, where he devotes himself to painting and sculpture, a passion he developed from his childhood. His fa...

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” - David H. Gibson David H. Gibson is a lifelong photographer whose first contact with the medium was in his father's darkroom before he could read. Gibson received a B.A. from Centenary College in Shreveport, Louisiana, and an M.A. at Trinity University in San Antonio, Texas. His early work in theater lighting...

Dipen Bose Brush & Watercolour on paper 7.5 x 5 inches, 1961-64 (each) Paintings on both sides of the paper. Extraordinary and Unique. (Set of 7 Reversible Works) - Recto - Verso (F...

Chester Cathedral - Drypoint Etching in Ink on Paper Dramatic drypoint etching by J. Alphege Brewer (British, 1881-1946). This composition shows the interior of Chester Cathedral in Brewer's characteristic style - highly detailed and with strong contrast. The scene encompasses the cathedral from floor to ceiling, capturing the immense size of the building. There are several people in the scene which contribute to the sense of scale. Signed by hand "J. Alphege Brewer" in the lower right corner. Titled "Chester Cathedral" in plate, lower left corner. Includes original card with artist's name. Presented in a new black mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 10.75"H x 7.75"W James Alphege Brewer was well known in the early 20th century as a producer of color etchings of European cathedrals and other scenes of church, college, and community. He was born July 24, 1881, in the Kensington section of London, England, the son of Henry W. Brewer, noted artist of historical architecture and prominent convert to the Catholic Church, and the grandson of John Sherren Brewer, Jr., “the brilliant editor of the Calendar of Letters of Henry VIII.” His great uncle was E. Cobham Brewer, the polymath who compiled Brewer’s Dictionary of Phrase and Fable. Among his older siblings were the artist Henry C. Brewer and the organist and writer John Francis Brewer. Brewer attended the Westminster School of Art in London, where his brother Henry also trained. In 1910, he married Florence Emma Lucas, an accomplished painter in oil and watercolor, whose father was the noted landscape artist George Lucas and whose great uncle was David Lucas, the famous engraver for John Constable. Florence's brothers Edwin and George assisted Brewer in the printing of Brewer's etchings. Brewer exhibited at the Royal Academy (RA) and the Royal Institute of Painters in Watercolour (RI), at the Paris Salon of the Académie des Beaux-Arts, and in the shows of the Royal Cambrian Academy (RCA). He became an associate of the Royal Cambrian Academy in 1929 and a full member in the last two years of his life. He was also a member of the Hampstead Society of Artists, the Society of Graphic Art, and the Ealing Arts Club, where he was first Honorary Art Secretary and then Honorary Art Chairman. Most of Brewer's larger etchings were published by Alfred Bell...

This artwork titled "Show and Tell" 1999, is a color off set lithograph by British/American artist Pati Bannister, 1929-2013. It is hand signed, titled and numbered 476/950 in pencil by the artist. Published by Masters Publishing INC, New York. The image size is 17.5 x 21 inches, sheet size is 23.25 x 26 inches. It is in excellent condition. About the artist: Pati Bannister was born in Highgate, England, overlooking London in 1929. Growing up, both of her parents were artists. Her mother painted watercolor landscapes, while her father painted portraits. To help further her natural talents, she took art lessons as a young girl and ultimately went to work for J. Arthur Rank, the movie maker, as an animator.​ At 22 years old, she came to the United States as a governess for a family in Connecticut. Later she became a flight attendant in Florida where she met her future husband, Glynn. Little did she know, he would become the strongest influence in her life as he inspired her to pursue and share her artistic abilities with the public. ​In 1958, Pati and Glynn moved to New Orleans and she started painting portraits in Jackson Square. Eventually, she opened two art galleries located in the French Quarter. In the late 1960's, they moved to the Mississippi Gulf Coast...

Eugène Cicéri (1813 - 1890) The Mill Signed lower right Monogrammed AE, probably a collector's mark as it appears on numerous drawings by Cicéri 30.5 x 22.5 cm In good condition : ...

Interior of a Church is an original painting realized by Hermann Corrodi. Original oil on canvas with a contemporary wooden frame included. Hermann David Salomon Corrodi...

Harry Aiken Vincent

 (American, 1864-1931) 
Title: The Entrance to the Bazaar 
Size: 13 ½ x 10 ½ inches 
Medium: Oil on canvas
 Markings: Signed lower right Harry Aiken Vincent was...

Antique Horse Study "Heads, Hooves and Rump, 1838" Wouterus Verschuur (Dutch, 1812-1874) Pencil on paper Signed and Dated "W Verschuuur 1838" 10 x 6 1/2 (17 1/2 x 14 frame) inches In his time Wouterus Verschuur was an acclaimed and celebrated painter of horses. Through careful observation he learned to capture their physique and movement to perfection. As a true-born romanticist he was also interested in their character, thereby painting powerful carthorses in their stable, thoroughbred saddled horses during an afternoon ride or harnessed horses in action. He was born to an Amsterdam jeweler and received his training from the landscape and cattle painters Pieter Gerardus van Os and Cornelis Steffelaar. As part of this education Verschuur had to copy works by the 17th century painter Philips Wouwerman. Like Wouwerman, Verschuur's subjects consist mostly of stable scenes, landscapes with horses and coastal landscape. These works reflect the enduring influence of the northern Baroque masters on nineteenth century art, revealing the artist's close study of his Dutch and Flemish predecessors harking back to Peter Paul Rubens. Showing talent from a very early age, at 15 Verschuur had a painting exhibited at the "Exhibition of Living Masters" at Amsterdam in 1828. In 1832 and 1833 he won the gold medal at the annual exhibition at Felix Meritis. In 1833 he was appointed a member of the Royal Academy in Amsterdam. In 1839 he joined the artists' society, Arti et Amicitiae. His reputation was also considerable abroad. He was often featured in the annual exhibitions which travelled the large European cities at that time. In 1855 Napoleon III purchased one of his paintings at the Exposition Universelle* in Paris. The Verschuur horse revels in its physicality, like a quintessential Baroque horse...

Girl with horse. 2004. Oil on canvas, 65x75 cm

Contemporary figurative oil on canvas painting by Polish artist Katarzyna Szydlowska. Painting pictures female in nude. She is sitting on the beach, there is sea and cliff behind her...

Recling Female Nude Charcoal on tan paper Signed: Poterlet bottom center (see photo) Provenance: Alfred Barrion, Lugt 76 lower right recto (see photo) Eric G. Carlson, 1985 Very good...

TUSCAN YIN/YANG PRISON is a stoneware clay sculpture with Butterscotch glaze by Brooklyn, New York artist Rene Murray. It measures 20"H x 25"W x 13"D. The ...

Agent X Beauté du XVIIIe Siècle 5 Archival Pigment Inks on 310 gsm hahnemühle paper Year: 2022 Size: 40x26in Edition: 50 Signed, dated and numbered by ha...

Major. (from series Music) 2011. Oil on linen, 70 x 80 cm

Antique Horse Study "Legs and Rumps, 1838" Wouterus Verschuur l (Dutch, 1812-1874) Pencil on paper Signed and Dated "W Verschuur 1838" 10 x 6 1/2 (17 1/2 x 14 frame) inches In his time Wouterus Verschuur was an acclaimed and celebrated painter of horses. Through careful observation he learned to capture their physique and movement to perfection. As a true-born romanticist he was also interested in their character, thereby painting powerful carthorses in their stable, thoroughbred saddled horses during an afternoon ride or harnessed horses in action. He was born to an Amsterdam jeweler and received his training from the landscape and cattle painters Pieter Gerardus van Os and Cornelis Steffelaar. As part of this education Verschuur had to copy works by the 17th century painter Philips Wouwerman. Like Wouwerman, Verschuur's subjects consist mostly of stable scenes, landscapes with horses and coastal landscape. These works reflect the enduring influence of the northern Baroque masters on nineteenth century art, revealing the artist's close study of his Dutch and Flemish predecessors harking back to Peter Paul Rubens. Showing talent from a very early age, at 15 Verschuur had a painting exhibited at the "Exhibition of Living Masters" at Amsterdam in 1828. In 1832 and 1833 he won the gold medal at the annual exhibition at Felix Meritis. In 1833 he was appointed a member of the Royal Academy in Amsterdam. In 1839 he joined the artists' society, Arti et Amicitiae. His reputation was also considerable abroad. He was often featured in the annual exhibitions which travelled the large European cities at that time. In 1855 Napoleon III purchased one of his paintings at the Exposition Universelle in Paris. The Verschuur horse revels in its physicality, like a quintessential Baroque horse...

Oil painting on canvas ( 43 x 53.5 cm; with 59 x 70 cm with gilt wood frame), Title: King Amulius, in the presence of Rea Silvia, orders to kill Romulus and Remus as children Ancien...

"Italian Landscape at Sunset" Materials & Technique Medium: Oil on canvas Framed Dimensions: 35 x 27 cm Painting Dimensions: 20 x 15 cm Frame: Giltwood with intricate decorative leaf...

This artwork titled "Children Flying Kites" 1963, is an oil painting on hardboard by noted Haitian artist Bourmont Byron, 1920-2004. It is signed and dated at the lower right corner ...

This artwork titled "The Dollhouse" 1997, is a color off set lithograph by British/American artist Pati Bannister, 1929-2013. It is hand signed, titled and numbered 662/950 in pencil by the artist. Published by Masters Publishing INC, New York. The image size is 17.5 x 21 inches, sheet size is 23 x 26 inches. It is in excellent condition. About the artist: Pati Bannister was born in Highgate, England, overlooking London in 1929. Growing up, both of her parents were artists. Her mother painted watercolor landscapes, while her father painted portraits. To help further her natural talents, she took art lessons as a young girl and ultimately went to work for J. Arthur Rank, the movie maker, as an animator.​ At 22 years old, she came to the United States as a governess for a family in Connecticut. Later she became a flight attendant in Florida where she met her future husband, Glynn. Little did she know, he would become the strongest influence in her life as he inspired her to pursue and share her artistic abilities with the public. ​In 1958, Pati and Glynn moved to New Orleans and she started painting portraits in Jackson Square. Eventually, she opened two art galleries located in the French Quarter. In the late 1960's, they moved to the Mississippi Gulf Coast...

19th-Century Landscape Painting – "Fort Nago on Lake Garda" (1842) Unidentified Artist Medium: Oil on wood Framed Dimensions: 25 x 37 cm Canvas Dimensions: 13 x 24 cm This exquisite ...

The present hand-colored lithograph is one of several decorative images of flower-filled vases published by Nathaniel Currier. This example contains roses, tulips, forget-me-nots, and others all within a vase with gold eagle head handles and an image of a beautiful young woman the belly. 16 x 11 inches, artwork 22.5 x 18.25 inches, frame Entitled bottom center Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "152 Nassau St. Cor. of Spruce N.Y." Copyrighted bottom center "Entered according to Act of Congress in the year 1848 by N. Currier in the Clerk's office of the Southern District of N.Y." with the number 249 Framed to conservation standards using 100 percent rag matting, housed in a lemon gold moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

MARY ADSHEAD (1904-1995) Music & Song A pair, both signed and dated 1927 Tempera on canvas Each 51 by 40.5 cm., 20 by 16 in. (each frame size 65 by 52 cm., 25 ½ by 21 ½ in.) Mar...

Theodore Gericault (1791-1824) Passage du Mont Saint-Bernard Lithograph, 1822 Signed and titled in the stone As published in Arnault "Vie politique et militaire de Napoleon" Conditio...

"Dessine par Gallier" is a hand-colored engraving and etching by Pierre Laurent (1739-1809) and Pierre Audouin (1768-1822) after a painting by Eustache Le Sueur...

Elizabeth Chalmers Lady Cottage in Nottgrove Watercolour on paper Size: H 21 x W 30cm Signed by the artist Please note that insitu images are purely an indication of how a piece may...

Elegant still life with calla lilies and amaryllis by an unknown artist. Completed in a classical style, two calla lilies and two amaryllis flowers sit in a vase with Chinese designs...

C. Calusd (1860-1936) Signed lower right An American painter specializing in Marine night paintings and Orientalist Scenes, he lived in Constantinople and had a studio at 225 5th Ave...

"Through the Clouds: The Magic of Stories in the Heavenly Realm" Oil on cardboard In this oil landscape painting, we immerse ourselves in the wondrous world of the sky and experience the emotional impact of its colors. The composition is dominated by a cloud that swiftly ascends towards the heights, touching the beautiful blue expanse above. The cloud becomes the protagonist and storyteller of this artwork, reflecting everything hidden beyond the horizon. The viewer, without seeing or knowing what lies beyond that horizon, completes the picture in their imagination, envisioning forests, lakes, and other enigmatic shapes concealed within the cloud's reflections. The cloud serves as a portal to a realm of fantasies and dreams, where the viewer can soar high above the cloud...

A wonderful English watercolor painting depicting A Donkey, Lambs and a Robin in a stable the night before Christmas.. This piece was drawn ...

KATARZYNA SZYDLOWSKA (born in 1969) Katarzyna Szydlowska studied at the European Academy of Arts under prof. Jerzy Duda Gracz, Antoni Fa?at and Franciszek S...

Attributed to Friedrich Voltz (1817–1886) – Bucolic Cattle Scene Artist: Attributed to Friedrich Voltz Period: 19th Century Medium: Oil on Canvas Dimensions: Framed: 35 x 40 cm Artw...

Martinus Kuytenbrouwer Amersfoort, The Netherlands 1821 – 1897 Paris, France Dutch Painter Along the River “La Meuse” Signature: signed lower right 'Martinus' Medium: oil on canvas...

Horse Drawn Plough with Two Horses, Ploughman and his Dog. Signed, Oil on Canvas, housed in a gilt frame, by British Landscape Artist, James Wright. Art ...

This artwork titled "Bridesmaids" 1995, is a color off set lithograph by British/American artist Pati Bannister, 1929-2013. It is hand signed, titled and numbered 41/950 in pencil by the artist. Published by Masters Publishing INC, New York. The image size is 18 x 22.5 inches, sheet size is 23.25 x 26 inches. It is in excellent condition. About the artist: Pati Bannister was born in Highgate, England, overlooking London in 1929. Growing up, both of her parents were artists. Her mother painted watercolor landscapes, while her father painted portraits. To help further her natural talents, she took art lessons as a young girl and ultimately went to work for J. Arthur Rank, the movie maker, as an animator.​ At 22 years old, she came to the United States as a governess for a family in Connecticut. Later she became a flight attendant in Florida where she met her future husband, Glynn. Little did she know, he would become the strongest influence in her life as he inspired her to pursue and share her artistic abilities with the public. ​In 1958, Pati and Glynn moved to New Orleans and she started painting portraits in Jackson Square. Eventually, she opened two art galleries located in the French Quarter. In the late 1960's, they moved to the Mississippi Gulf Coast...

Les Tuileries, Paris - Hand Colored Lithograph Delicate hand-colored lithograph of Tuileries Palace in Paris, France printed by Rose-Joseph Lemercier (French, 1803 - 1887). Published, Paris 1843 to 1867 by Hautecoeur Freres (Eugène and Alfred Hautecoeur (French). After Charles Riviere...

Rue de la Paix, Paris - Hand Colored Lithograph 1845-1860 Delicate hand-colored lithograph of Rue de la Paix Palace in Paris, France printed by Rose-Joseph Lemercier (French, 1803 - 1887). Published, Paris 1843 to 1867 by Hautecoeur Freres (Eugène and Alfred Hautecoeur (French). After Charles Riviere...

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Mastiff C France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inches Six lithographs of dog portraits. ...

Lithograph on fine vélin paper, mounted on archival mat-board, as issued. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Eugène De...