Victorian Art

Edward Niemann A lovely countryside painting by the highly regarded Edward Niemann. These pretty scenes are not regularly seen on the art market. Often ...

This is an original unique oil painting by the artist. Born into an artistic family in Doncaster, England during 1820. Best known for his equine art, of the same character as those of the elder Herring, including "The Home Farm," "The Homestead," "The Farm-Yard," etc.John F. Herring, Jr. was born in Doncaster, South Yorkshire c.1820, to the well-known 19th-century artist John Frederick Herring, Sr. (1795-1865), who at the time, was considered one of England's great Sporting and Equestrian artists, patronized by the English aristocracy. The father's mastery of the brush, and popularity with the nobility, served his son, Herring, Jr., well. Early on, John, Jr. was exposed to fine painting and wealthy patrons. Recent reference books state that Herring, Sr.'s first child was named "John Frederick Herring, Jr." and was born on June 21, 1815. John Herring, Jr. developed a love for painting, a passion also shared by his brothers Charles and Benjamin. Three of the four brothers became artists, painting in the same style as their father, often collaborating on a single painting. In the years after 1836, Herring, Sr., feeling threatened by the teenage John Herring, Jr.'s ability and growing popularity, began incorporating the tag "SR" at the end of his signature. John Herring, Jr. continued painting in the tradition of his father, the sporting and animal pictures...

An enchanting 19th century watercolor with figures before a castle in a river landscape. Circle of Samuel Prout (1783-1852) Figures before a castle in a river landscape Watercolour ...

Rare pair of 19th Century watercolors on paper painted in tropical settings both signed MWW 87 and presented in wood frames under glass.

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and housed in a gold gilded 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...

Lord Fauntleroy Melanie Sherman 240522-55 Pigment Print Year: 2024 Visible Size: 13 x 13 inches Framed: 20.5 x 20.5 inches Signed: On Label Edition: 7 COA provided *White frame with...

Arthur James Stark (1831-1902) Husky in a snowy landscape Signed 'a j Stark, 1879' lower right Oil on canvas Canvas size - 20 x 26 in Framed size - ...

Victorian Unsigned Watercolour a Naive Ship Portrait of a Chiliean Packet in traditional Maple Frame. Watercolour painted on paper laid on board, mounte...

Charming 19th Century oil painting on boards cut to the shape of the painting depicting two parrots in a garden with fruit and flowers on a classical stand. Unsigned.

Henry Room, noted Birmingham artist, painted this lovely Victorian portrait oil painting. It was painted in 1842 and exhibited at the Society of British Artists the same year, entitled Forsaken Innocence. It is a charming half length portrait of a young lady in a hat, dark ringlets gleaming and ruby red lips slightly smiling. She is holding a sheaf of wheat with trees beyond. The detail and brushwork are lovely. A super pastoral oil painting and an accomplished example of Henry Room's work with excellent provenance. . Signed lower left. Indistinctly inscribed to label verso. Provenance. Exhibited at the Society of British Artists 1842 no. 63 entitled Forsaken Innocence. Mentioned in “German Compliments to British Art,” The Art-Union (Dec. 1842), 279-281. Comments by Dr. Henry Merz on the exhibition of the Society of British Artists (Suffolk Street, Pall-Mall East); p.280: “In this exhibition we find also the peculiar sentimentalism of the English school, in No. 129, ‘Sterne’s Poor Maria,’ by F. Stacpoole; No. 63, ‘Forsaken Innocence’ (a coquettish young lady with a sheaf of gleanings in her apron), by H. Room” Berwick House, Shropshire. James Watson was born in Edgbaston, Birmingham in 1818, He bought Berwick House In August 1875. With the renovations on the mansion house nearing completion, by 1879 Watson turned his sights to forming a collection of suitably impressive paintings and furnishings for the recreated rooms. Condition. Oil and panel, 30 inches by 25 inches and in good condition. Frame. Housed in an ornate gilt frame, 38 inches by 33 inches and in good condition. Henry Room (1802–1850) was an English portrait-painter, from an evangelical background in Birmingham. Henry Room was born in Newhall Street, the son of John Room, a japanner, and studied at Joseph Barber's drawing school on Great Charles Street. An original member of the Royal Birmingham Society of Artists, he was also one of the group of artists that broke away from the Society in 1828 to exhibit at a rival institution in Temple Row. Room was in London in the late 1820s, sharing a studio with Peter Hollins in Old Bond Street. He was a deacon in the church of John Morison. He was a frequent exhibitor at the Royal Academy from 1826 onwards and completed many portraits of missionaries, academics and reformers which were engraved by John Cochran. Room maintained close links with Birmingham and was appointed as auditor for the newly formed Birmingham Society of Artists in 1842. He had a reputation as a painter of portraits, and received commissions, some of his portraits being engraved. He first exhibited at the Royal Academy in 1826. He practised for some time at Birmingham. He painted a portrait of Thomas Clarkson...

A delightful rustic scene from the Victorian period with figures chatting outside a thatched cottage English School, mid 19th Century Figures conversing by a cottage and stream Wat...

"Woman Manicuring Her Nails" is an original lithograph by Maximilien Luce. The artist signed the piece lower right and it is numbered (#7). It features a woman seated in an interior taking care of her nails. 8 1/4" x 5 3/4" image 14 1/8" x 10 3/4" paper 19 1/4" x 16 1/2" frame Maximilien Luce (1858 – 1941) was a prolific French Neo-impressionist artist, known for his paintings, illustrations, engravings, and graphic art, and also for his anarchist activism. Starting as an engraver, he then concentrated on painting, first as an Impressionist, then as a Pointillist, and finally returning to Impressionism. Gausson and Cavallo-Péduzzi introduced Luce in about 1884 to the Divisionist technique developed by Georges Seurat. This influenced Luce to begin painting in the Pointillist style. In contrast to Seurat's detached manner, Luce's paintings were passionate portrayals of contemporary subjects, depicting the "violent effects of light". In addition to Pissarro and Signac, he met many of the other Neo-impressionists, including Seurat, Henri-Edmond Cross, Charles Angrand, Armand Guillaumin, Hippolyte Petitjean, Albert Dubois...

Artist: Henry Stannard, British (1844 - 1920) Title: Burning the Weeds Year: circa 1885 Medium: Watercolor on Board, signed Size: 9.5 in. x 13.5 in. (24...

A vibrant Victorian watercolour which is signed and dated 1869 by Henry George Hine RI. A lovely scene around the camp fire with gypsies such as the man smoking and the laundry hung ...

Lofty antique Italian bisected seashell arrangement ambitiously composed in a floral motif. Presented under a convex lens in a distressed ceramic round frame.

Framed dimensions 18.5 x 17.5 inches One of two original drawings of seraphim created for the British firm of stained-glass designers Shrigley and Hunt. The drawings are by the cele...

This lovely Scottish Edwardian interior portrait oil painting is by noted Scottish artist Arthur Percy Dixon. Painted in 1906 it is a seated portrait of a lady in the corner of a roo...

Artist: Filippo Bartolini (Italian, 1861-1908) Title: "Resting Lady, Roma" *Signed by Bartolini lower right Circa: 1900 Medium: Original Watercolor on heavy wove paper Framing: Rece...

Artist: John Gould (English, 1804-1881) Title: "Myzanthe Ignipectus (Fire-breasted Flowerpecker)" (Vol. 2, Plate 40) Portfolio: The Birds of Asia Year: 1850-1883 Medium: Original Hand-Colored Lithograph on wove paper Limited edition: approx. 235 Printer: Hullmandel & Walton, T. Walter or Walter & Cohn, London, UK Publisher: Taylor and Francis, John Gould, London, UK Reference: Anker No. 178; Nissen No. IVB 368; Sauer No. 17, Zimmer page 258; Wood page 365; Sitwell page 102 Sheet size: 21.38" x 14.57" Image size: 16" x 9.75" Condition: Light toning to sheet. Has been professionally stored away for decades. In excellent condition with strong colors Extremely rare Notes: Provenance: private collection - Aspen, CO. Lithography and hand-coloring by John Gould and English artist Henry Constantine Richter (1821-1902). Comes from Gould's seven volume "The Birds of Asia", (1850-1883) (First edition), which consists of 530 hand-colored lithographs. Other contributing lithographers were German artist Joseph Wolf (1820-1899) and Irish artist William Hart (1830-1908). "The Birds of Asia" was Gould's last work before his death. Gold gilded edges as issued. The fire-breasted flowerpecker is a species of bird in the family Dicaeidae found in the Indian Subcontinent and Southeast Asia. Like other flowerpeckers, this tiny bird feeds on fruits and plays an important role in the dispersal of fruiting plants. Biography: John Gould FRS (14 September 1804 – 3 February 1881) was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed "Darwin's finches" played a role in the inception of Darwin's theory of evolution by natural selection. Gould's work is referenced in Charles Darwin's book, "On the Origin of Species".

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Oil on canvas, signed in the lower right. Measures 36" x 41" including the frame. Johann Georg Meyer Von Bremen (German 1813-1886) was a genre painter. He was the son of master baker Johann Georg Meyer. His mother was strictly religious. From 1833 he studied at the Düsseldorf Academy of Fine Arts , which was led since 1826 by Friedrich Wilhelm von Schadow, the son of the sculptor Johann Gottfried Schadow. In addition to Schadow, Karl Ferdinand Son was his teacher there. Meyer acquired the necessary craftsmanship skills to make a living from the sale of his paintings, but he was initially unable to do so. From 1841 to 1852 he maintained his own studio in Düsseldorf. On his travels to Brussels and Antwerp Meyer experienced the works of Peter Paul Rubens and Anthonis van Dyck. In 1851 he married the singer Julia Beer...

Artist: John Gould (English, 1804-1881) Title: "Larus Islandicus (Iceland Gull)" (Vol. 5, Plate 58) Portfolio: The Birds of Great Britain Year: 1862-1873 Medium: Original Hand-Colored Lithograph on wove paper Limited edition: approx. 750 Printer: Walter or Walter & Cohn, London, UK Publisher: Taylor and Francis, John Gould, London, UK Reference: Sauer No. 23; Ayer/Zimmer page 261; Wood page 365; Nissen No. IVB 372; Sitwell page 78 Sheet size: 14.57" x 21.57" Image size: 12" x 16.25" Condition: Soft handling creases to sheet. Remnants of mounting tape from previous framing at top on verso. In excellent condition with strong colors Notes: Provenance: private collection - Mount Vernon, IA. Lithography and hand-coloring by German artist Joseph Wolf (1820-1899) and Irish artist William Hart (1830-1908). Comes from Gould's five volume "The Birds of Great Britain", (1862-1873) (First edition), which consists of 367 hand-colored lithographs. Other contributing lithographers were John Gould and English artist Henry Constantine Richter (1821-1902) "The Birds of Great Britain" is recognized as Gould's greatest work. Comes with its original accompanying text page. Gold gilded edges as issued. The Iceland gull is a medium-sized gull that breeds in the Arctic regions of Canada and Greenland, but not in Iceland, where it is only seen during winter. The genus name is from Latin larus, which appears to have referred to a gull or other large seabird. Biography: John Gould FRS (14 September 1804 – 3 February 1881) was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed "Darwin's finches" played a role in the inception of Darwin's theory of evolution by natural selection. Gould's work is referenced in Charles Darwin's book, "On the Origin of Species".

Watercolour on paper, signed bottom left Image size: 13 3/4 x 9 1/2 inches (35 x 24 cm) Mounted and framed The Generalife was a summer palace and country estate of the Nasrid rulers...

Condition: Excellent overall Condition. Original canvas and frame. No restauration necessary. No retouching under UV light. Dimensions with frame 28 x 34 cm. Free US CONTINENTAL Shi...

Artist: John James Audubon (American, 1785-1851) Title: "Ivory Gull" (Plate 445, No. 89) Portfolio: The Birds of America, First Royal Octavo Editi...

Max Beerbohm (British, 1872 – 1956) Mr Harry Nicholls (In a life of pleasure), 1893 Signed ‘MAX’ (lower right), inscribed with title in ink Pencil on paper with evidence of some wate...

The Clan of MacDougal Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descriptive te...

Artist: John James Audubon (American, 1785-1851) Title: "Glaucus Gull - Burgomaster" (Plate 449, No. 90) Portfolio: The Birds of America, First Royal Octavo Edition...

Artist: (after) James Ward (English, 1769-1859) Title: "Bulls Fighting" Portfolio: The Portfolio *Signed by Wise in pencil lower right. It is also signed in the plate (printed signature) lower right Year: 1874 Medium: Original Etching on laid paper Limited edition: Unknown Printer: Unknown, London, UK Publisher: Seeley, Jackson, and Halliday, London, UK Sheet size: 9.75" x 13.75" Image size: 5" x 8" Condition: In excellent condition Very rare Notes: Engraved by English artist William Wise...

Two very fine original antique English botanical watercolour paintings depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey,...

'The Century Atlas. Pennsylvania, Eastern Part.' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 40cm by 29.5cm.

A stunning pair of original 19th-century hand-colored botanical engravings featuring Ipomoea horsfalliae and Chirita walkeria, attributed to renowned British botanists William Jackso...

Set of 9 sheet music covers from the early part of the 20th Century, London, by various artists. Altogether they portray a real feeling of the fun of the age and what people were...

Artist: George Brookshaw (English, 1751-1823) Title: "Pears (Bergamot de Chantilly, Bouchee, Winter Sweet Sugar Pear, Bishop's Thumb)" (Plate LXXIX) Portfolio: Pomona Britannica, or A Collection of the Most Esteemed Fruits Year: 1808 (First edition) Medium: Original Aquatint and Stipple Engraving with Printed and Hand-Coloring on wove paper Limited edition: Unknown Printer: T. Bensley, London, UK Publisher: George Brookshaw, London, UK Reference: Dunthorne No. 50; "Great Flower Books" - No. 81; Nissen BBI No. 244; "An Oak Spring Pomona" No. 40a; Prideaux No. 295 Framing: Recently framed in a wood and gold moulding with 100% cotton rag matting and Museum Glass Framed size: 28.5" x 24.44" Sheet size: approx. 22.25" x 17.5" Image size: 16.25" x 12.25" Condition: Some minor scuffing to image. In excellent condition Rare Notes: Provenance: private collection - Orlando, FL; acquired from The Old Print Shop, New York, NY retaining their original gallery label upper center on verso. Comes from Brookshaw's famous book volume "Pomona Britannica", (1804-1812) which consists of 90 aquatint engravings some with stipple printed...

'The Century Atlas. Italy, Northern Part.' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 29.5cm by 40cm.

'The Century Atlas. The Netherlands (Holland), Belgium and Luxemburg.' Original antique map, 1903. Inset maps of 'Amsterdam' and 'Brussels'. Central fold as issued. Map name and num...

'The Century Atlas. Dominion of Canada and Newfoundland.' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 29.5cm by 40...

'The Century Atlas. German Empire, Northern Part.' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corne...

'The Century Atlas. New Brunswick, Nova Scotia and Prince Edward Island, Canada.' Original antique map, 1903. Inset map of Newfoundland. Central...

'The Century Atlas. Austria-Hungary, Western Part' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 40cm by 29.5cm.

'The Century Atlas. Denmark' Original antique map, 1903. Inset maps of 'Faroe Islands', 'Iceland' and 'Copenhagen'. Central fold as issued. Map name and number printed on the reve...

'The Century Atlas. Africa. Southern Part' Original antique map, 1903. Inset maps of 'Cape Town', 'Johannesburg' and 'Ladysmith'. Central fold as issued. Map name and number printe...

"Near Tamerton Devon" by William Pitt. William Pitt 1818-1900 was a fine midlands landscape painter of local scenes and south west views. A regular exhibitor at London and Birmingham...

Artist: John Gould (English, 1804-1881) Title: "Grus Cinerea (Common Crane)" (Vol. 4, Plate 19) Portfolio: The Birds of Great Britain Year: 1862-1873 Medium: Original Hand-Colored Lithograph on wove paper Limited edition: approx. 750 Printer: Walter or Walter & Cohn, London, UK Publisher: Taylor and Francis, John Gould, London, UK Reference: Sauer No. 23; Ayer/Zimmer page 261; Wood page 365; Nissen No. IVB 372; Sitwell page 78 Sheet size: 14.75" x 21.57" Image size: 12.75" x 20.13" Condition: Has been professionally stored away for decades. In excellent condition with strong colors Notes: Provenance: private collection - Aspen, CO. Lithography and hand-coloring by German artist Joseph Wolf (1820-1899) and Irish artist William Hart (1830-1908). Comes from Gould's five volume "The Birds of Great Britain", (1862-1873) (First edition), which consists of 367 hand-colored lithographs. Other contributing lithographers were John Gould and English artist Henry Constantine Richter (1821-1902). "The Birds of Great Britain" is recognized as Gould's greatest work. Gold gilded edges as issued. The common crane, also known as the Eurasian crane, is a bird of the family Gruidae, the cranes. A medium-sized species, it is the only crane commonly found in Europe besides the demoiselle crane and the Siberian crane that only are regular in the far eastern part of the continent. Biography: John Gould FRS (14 September 1804 – 3 February 1881) was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed "Darwin's finches" played a role in the inception of Darwin's theory of evolution by natural selection. Gould's work is referenced in Charles Darwin's book, "On the Origin of Species".

'The Century Atlas. Pennsylvania, Western Part' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 40cm by 29.5cm.

'The Century Atlas. West Virginia' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 29.5cm by 40cm.

'The Century Atlas. New York, Western Part' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 29.5cm by 40cm.

'The Century Atlas. New York. Northern and Eastern Part' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 40cm by 29.5c...

'The Century Atlas. Illinois, Northern Part' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 29.5cm by 40cm.

'The Century Atlas. Indiana.' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 40cm by 29.5cm.

'The Century Atlas. Ohio, Southern Part' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 29.5cm by 40cm.

'The Century Atlas. Massachusetts, Eastern Part' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 40cm by 29.5cm.

'The Century Atlas. Ohio, Northern Part' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 29.5cm by 40cm.

'The Century Atlas. Missouri. Southern Part.' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 29.5cm by 40cm.

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Horse with Saddle in Stable English School, 19th century signed with initials "E. B."/ inscribed oil painting on canvas, framed framed: 26 x 30 inches canvas : 20 x 24 inches Provena...

Cottages in North Wales indistinctly signed, oil on canvas, framed dated 1888 framed: 16 x 22 inches canvas : 12 x 18 inches Provenance: private collection, UK Condition: very good ...

Terrier Ratting in Barn English School, 19th century Circle of Alfred Banner (act.c.1880-c.1915) signed with initials, dated 1875 oil on canvas, framed framed: 7.5 x 9.5 inches canv...

Terriers Ratting in Stable Circle of Alfred Banner (act.c.1880-c.1915) incised initials "A.B." and dated 1875 oil on canvas, framed framed: 7.5 x 9.5 inches canvas : 6 x 8 inches Pr...

Alfred Moginie Bryant British, (1855-1935) Sunshine Oil on canvas, signed & dated (18)90 Image size: 17.75 inches x 23.75 inches Size including frame: 26.5 inches x 32.5 inches A f...