Antique Viewer

A rare model of a Kinora monochrome motion picture viewer on folding base. Light oak lens holder

Original whiting sculpt scope coin-operated stereo card viewer from the 1920s. Deposit a penny

Circa 1890 French concave mirror card viewer, all constructed of French polished light wood, with

Late 17th-early18th century Drawing Pen and brown ink , brush and gray wash on paper att. to Georg Philipp Rugendas (1666 – 1742) bears a period ink inscription in bottom margin...

rabbit, its bright eyes fixed on the viewer as it lifts one paw in alert poise. Unsigned. Well presented

floor, guiding the viewer’s eye into the depth of the scene. The stream functions not only as a natural

saluting the viewer, standing between an Army soldier and a US Navy sailor with colourful bold red, white

looking sideways to the viewer and the man writing in the foreground, her shadow in the background and the

in a black suit and bow tie, returns the viewer's gaze with a stern expression. Signed and dated to

, and wig. He returns the viewer's gaze with a serious expression, whilst a bookshelf positioned behind

the viewer and holding a large demi-sec bottle and a flute glass on a tray, set over a maroon red

partially to shield her face from view, as she coquettishly looks at the viewer, legs in contraposto stance

suggests urgency—perhaps rescue, scandal, or emotional crisis—immediately drawing the viewer into the drama

and holding a feather fan, looking at the viewer with the names of the main actors above and the title

with delicate lace and feather details capture the viewer's attention, while in the background, subtle

-1934) depicting a young lady looking out to the viewer, wearing a sun hat and holding colourful flowers

viewers to imagine strolling through this picturesque alleyway. Signed, titled and dated to the lower

viewer's eye through undulating hills that frame the meandering waterway, whilst the soft brushwork creates

—creates a bold visual hierarchy that draws the viewer’s eye directly to the central figure. The carriage

, confronting the viewer with quiet intensity. He is dressed in smart attire, wearing a silk necktie typical of

, confronting the viewer with quiet intensity. She is dressed in modest attire, wearing a ruffled bonnet and a

winding stream lead the viewer into the composition, opening onto a luminous expanse of water where a

automobile, driving directly toward the viewer under a moonlit sky. The female passenger, dressed in a

grey-blue hues that evoke a misty or hazy atmosphere. The composition leads the viewer's eye from the

towards a prominent town church. The composition guides the viewer's gaze from an animated group of

and earth, drawing the viewer in for a closer look. Written on either side of the door is “vale” and

trees, creating a natural window to the water beyond. The composition guides the viewer's eye from the

, standing out against the dark black background. The glossy finish of the piece encourages viewer

in the viewer. An empty can of sardines and a broken coffee cup in the foreground add to the scene's

. His direct gaze engages the viewer, lending the portrait an immediate and compelling presence. The

the viewer’s gaze to Christ’s pale form. The figures are rendered with striking emotional intensity

the viewer to examine each organ independently while maintaining proportional coherence.

psychologically charged, drawing the viewer into a moment of quiet suspense centered on the act of fortune-telling

evocative work immerses viewers in the sights and sounds of the bustling fair. Well presented in a stained

delicate white lace trim at the collar and sleeves, gazes directly at the viewer with soulful eyes, while

the jump. Alken places the viewer at the very heart of the action: the fallen rider lies entangled

and texture to define the scene. The painting draws the viewer in through its depth and perspective

and the woman's gaze draw the viewer's eye to the flower. The background is barely sketched with

ritual use. What strikes the viewer more is its deep patina. There is a pronounced crackles that cover

intermittent foxing across the original mirror glass plate confirm the age, drawing the viewer into the

stone archway. The perspective draws the viewer's eye through the arch to a church tower, topped with a

with the architecture and the viewer, bringing a sense of theatrical, mythological drama to the

a Biedermeier piece of furniture breaks all the expectations in the viewer's eye, making this piece

.  The figure sits beside a crucifix, meeting the viewer’s gaze with kind eyes and a gentle half-smile

life, offering viewers a sense of connection and familiarity. Within the broader context of Victorian

viewer’s attention to rest entirely upon the dog. This simplicity of composition is characteristic of early

immediately suggests a comedic narrative, inviting the viewer to imagine the absurd or humorous situation

the viewer. She wears a fitted blue-grey dress typical of French fashion in the 1870s and early 1880s

poetic and open shape draws the attention of the viewer right away. The stone itself is about 16" high

captivating. It invites the viewer not just to attend a performance, but to experience the magic of the stage

viewer’s eye across the composition while maintaining an overall sense of harmony. Typography plays a

delicate linework and expressive yet restrained physiognomy. Their poses and gazes guide the viewer’s eye

stratified rocky spurs, and inclined snow surfaces that lead the viewer’s eye toward the center of the scene

mirror to anchor the composition and guide the viewer’s gaze. Yet where Eckersberg’s mirror reveals the

a strong sense of realism and intimacy. The perspective draws the viewer into the space. Chairs

coastal communities. Here, Haddon invites the viewer to look into a humble cottage, where a woman leans

viewer, his expression composed and contemplative. Clad in a dark clerical robe with a crisp white collar