Romantic Art

This artwork titled "Thanksgiving" 1995 is a color off set lithograph by British/American artist Pati Bannister, 1929-2013. It is hand signed, titled and numbered 587/950 in pencil by the artist. Published by Masters Publishing INC, New York. The image size is 17.75 x 21 inches, sheet size is 23.75 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...

Antique German porcelain plaque signed 'Haak' German, late 19th Century Frame: Height 42cm, width 36cm, depth 3cm Plaque: Height 28.5cm, width 22.5cm, depth 0.5cm This fine and detailed German porcelain plaque depicts a man and a woman in medieval dress...

Eugène Deveria Paris, 1805 – Pau, 1865 Oil on canvas 41 x 33 cm (46 x 38 cm with frame) Signed at the top "Eug. Deveria" Beautiful giltwood frame Fair condition Eugène Deveria often...

An oil on panel view of a Christmas tree in a landscape heavy with snow by Boggio. The painting is signed bottom left. A charming view of a snow scene, a Christmas tree its branches...

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...

Josef Kugler, Austrian (1913 - 2011) - Woodlands, Year: circa 1968, Medium: Oil on Canvas, signed lower right, Size: 24.25 x 36 in. (61.6 x 91.44 cm), ...

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...

"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...

Théodore Géricault (after), 'Tigre dévorant un cheval' (Tiger Devouring a Horse), lithograph, 3rd state of 3, Clement 97, c. 1820. Lettered 'Volmar ...

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...

The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood 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...

A subtle miniature portrait of a girl in light delicate colours KATARZYNA SZYDLOWSKA (born in 1969) Katarzyna Szydlowska studied at the European Academy of Arts under prof. Jerzy Du...

French Impressionist watercolour on paper view of a canal scene by Henri Clamen. There is a location annotation to the back of the paper. The painting is not signed but was acquired ...

A bronze sculpture by Allan Clark originally casted in 1927. A nude figure sculpture of Parvati, the Hindu goddess of love. Artist: Allan Clark (after), American (1896 - 1950) T...

Pinckney Marcius-Simons, (American, French, 1867-1909) Signed: Marcius-Simons, (lower, right) " Lost in Her Thoughts ", circa 1890-1892 Oil on mahogany panel bearing the stamp on verso of " H. Vieille e. Troisgros Sueei, 55 Rue de Laval...

Angel woke up 90x80 cm

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...

Coastal Mountain Cliff Beach Scene of Fair Head in Northern Ireland by 20th Century Irish Artist, David Overend. Art measures 16 x 12 inches Frame meas...

Aleksandra (Ola) Pawlikowska born 1988, Warsaw, student of the Faculty of Graphics at the Academy of Fine Arts in Warsaw. In the years 2007-2012 she studied Art History at the Univer...

Désiré THOMASSIN (Attributed to) Vienna, 1858 – Munich, 1933 Oil on panel 32 x 50 cm (42 x 60 cm with frame) Inscription on the back “Thomassin / Braz...

Teal Rustic Flowers One of a kind Mixed Medium on Canvas Artwork: Original abstract mixed media work on canvas, which combines new media - digital original hand painting, printed ...

Romantic 19th century painting of a shepherd with his flock attributed to Hippolyte Paul Vayson Hippolyte Paul Vayson is a French painter and engraver born on December 4, 1841 in Go...

From the series “Imaginary portraitsâ€

Debbie Allwright is an English painter and book illustrated. Her skill and quality of drawing is first rate.

French Romantic school, circa 1840 Portrait of a young man, charcoal on paper 22.5 x 17 cm In good condition, however, there is a restoration of the paper in the upper right-hand qu...

French Barbizon School watercolour on paper view of a French village and stone bridge by a river by Henri Clamen. The painting is dated, 1939, and titled, 'Dinard' to the back of the...

Large scale colourful figurative portrait of a fashionable lady in a blue hat by French artist Jean-Louis Dubuc. The painting is signed bottom right and titled to the rear cross stre...

A moody mid century landscape painted in neutral, sepia tones featuring an abandoned building by Joseph Bodner (American, 1925-1982). Signed "Bodner" in ...

This artwork titled "Strawberies" c.1985, published 1996 is a color off set lithograph by British/American artist Pati Bannister, 1929-2013. It is hand signed, titled and numbered 656/950 in pencil by the artist. Published by Masters Publishing INC, New York. The image size is 16.5 x 21 inches, sheet size is 22.25 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...

A substantial, mid-to-late 19th century American School nocturnal landscape showing a view of three children, accompanied by their terrier, fishing by ...

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...

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...

L'Hiver, which is French for winter. An evocative title which pretty much explains the piece. Number 1 out of a production of Seven. Artist Statement: I am very happy to announce that two of my bronze works are now available in a limited edition of 7. The first one, shown above, is my vision of Eros. He is more popularly known in the Roman interpretation of a chubby baby or young boy with an bow and arrow. I have always been more intrigued with the original Greek embodiment of the this deity as a young man. More than the god of love, Eros was a personification of the power of creation. He was balanced by his antithesis was Thanatos, that of destruction. In fact, Thanatos is currently in the design process. This work will exist in an edition of 7 and 2 artist's proofs. Each piece is hand chased by myself and I apply the patina as well. The sculpture was created using the Lost Wax...

In creating this painting, I embraced the beauty of resilience and renewal found in nature. The acrylic and oil pastel blend to weave a dance of colors, capturing the subtle textures...

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...

Oil painting on panel probably depicting an Orthodox priest of Russian origin. Dated 1872. Signed but not legible signature

Swan Scalabre "Western Diptych" Oil on Wood 7.75 x 15 in. 11 x 21 Inches Framed (Left Panel 7.75 x 9.75 11 x 13 Framed) (Right Panel 7.75 x 5.25 11 x 8.5 Framed) Born in th...

GUSTAVE DORE (French 1832-1883) CHASSEURS TYROLIENS A L'AFFUT DU CHEVREUIL (Tyrolian Hunters at the end of the Hunt) c. 1856-7 (Beraldi?) Lithograph,...

Hilding Werner, A Värmland artist, was a distinguished Swedish painter and draftsman. Born to landowner Anders Andersson and Inga Maria Johannesdotter, ...

An oil on panel idyllic seascape by Boggio. The painting is signed bottom right. An idealised seascape scene, boats under sail on a tranquil sea moving away from a rocky outcrop wit...

This is a hand-colored aquatint and engraving entitled "Part of the New City of Alexandria, with the Light House", published in London by R. Bowyer from 1802-1805. The print was crea...

Swan Scalabre "Ambition n°26" Oil on Wood 7.75 x 9.75 in. 11 x 13 in. Framed Born in the Alpes de Haute Provence region of France in 1977, Swan Scalabre investigates the silen...

Léonie POISSON (XIX) Black chalk and white chalk 56 x 45 cm (66 x 55 cm with frame) Signed and dated lower right "Léonie Poisson / Août 1845"

Moody landscape in neutral sepia tones of a deserted western ghost town by Joseph Bodner (American, 1925-1982). Signed "Bodner" in block letters in the l...

Swan Scalabre "Western n°14" Oil on Wood 7.75 x 9.75 in. 11 x 13 in. Framed Born in the Alpes de Haute Provence region of France in 1977, Swan Scalabre investigates the silent g...

Italian Peasant Girl with Coral Necklace and Man with Ciocie Shoes, 19th Century Dimensions: H 65 cm x W 51 cm Period: 19th century Technique: Oil on canvas This rural scene depic...

French school of the 19th century (In the 1820s/1830s) Oil on canvas 46 x 38 cm (61 x 53 cm with frame) Unsigned Stamp from the collection of the merchant Jules Nicolas Moyon Beauti...

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...

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...

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...

A large vintage herbarium / botanical display collected and created by S. Lindvald in June 1945 in Sweden. This four-piece collection of botanical specimens is preserved behind glass...

Artist: Alvar Title: Untitled III Year: c.1990 Medium: Color lithograph with embossing Edition: Numbered 148/225 in pencil Paper: Arches Image size: 16.5 x 22.5 inches Framed s...

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...

A mid 20th century watercolour on paper of carnations in a bowl by French artist J Savigny. The painting is signed bottom right and presented in a period patinated and gilt wood and ...

Early 20th Century, French, oil on canvas of a romantic river scape with an ancient bridge. The work is dedicated, signed and dated bottom left, but we have not been able to decipher...

Jules Boilly (1796-1874) Portrait of a young man, in uniform, signed and dated 1837 on the lower left charcoal and heightenings of blue, red and white chalk on paper 27.5 x 21.5 cm Framed : 41.8 x 36 cm This drawing is a good illustration of Jules Boilly's own style, obviously very different from his father's realistic acuity. There is something softer, more velvety, lighter, and we can see it clearly in the way he renders the features of this young man. Julien-Léopold Boilly (30 August 1796 – 14 June 1874), also known as Jules Boilly, was a French artist noted for his album of lithographs Iconographie de l'Institut Royal de France (1820–1821) and his booklet Album de 73 portraits-charge aquarellés des membres de l'Institut (1820) containing watercolor caricatures...

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...

Swan Scalabre "Incandescente New n°1" Oil on Wood 13.25 x 11.25 in. Born in the Alpes de Haute Provence region of France in 1977, Swan Scalabre investigates the silent gaze placed ...

Signed lower left, 'D. Guillot' for Donat Guillot (French, 19th Century) and painted circa 1870. Displayed in a period and antique, carved giltwood and gesso frame...

Embroidered Fruit Still Life A beautiful embroidery of a colorful grape vine with rich colors of red, purple and blue. Signed "E. P. S. F." lower right. Presented in a new mat and g...