David Roberts Wall Decorations

Exquisite Hand-Colored Lithograph of Japanese Decorative Art, Plate II, 1882-1884 This striking hand-colored lithograph, Plate II from George Ashdown Audsley's masterpiece "The Orna...

This is a charming barn scene of a mother hen defending her chicks against a pair of small dogs derives its inspiration from the famous Dutch/Belgium animal painter Henriett Ronner-Knip (1821-1909). The fluffy little white guy is quite adventurous when considering the ferocity of the mother hen; while the little black dog is happy to hide behind his friend. This painting is in the tradition of Victorian dog...

Watercolor on paper mounted on masonite board with ornate gilt frame. Dimensions: (Board) H 13.5" x W 10"

An oil painting of two rustic dogs fighting over a piece of food. It is painted on an oak panel. Signed top left. The signature is a bit faded, it's a monogram J.S. by Joseph Stevens. He often signed with a monogram. In a gilded frame frame with gesso moldings. Dimensions frame: 41 x 47 cm Dimensions painting: 17 x 23 cm. Joseph Stevens is the older brother of the very well-known artist Alfred Stevens. In the book 'The Belgian Art Book' by J. de Geest, it is written that Joseph Stevens has given a new dimension to painting animals. Joseph Stevens is an early representative of realism and social art. While Eugene Verboeckhoven has royal dogs pose on a beautifully embroidered cushion, Joseph Stevens already has an eye for the dark side of animal existence: exploitation by man, who in turn is a victim of society. His first successful painting, Brussels in the morning, shows how miserable dogs and poor people suffer the same fate. In the Sandman, Stevens shows a joint effort of man and dog, in which the viewer cannot ignore the social conditions: exhausting labor at dawn in some suburb. The gray sky and monochromy of the suburb add to the sinister atmosphere. Joseph Stevens was one of the first artists to take the urban proletariat as his subject. Stevens enjoys a very high reputation in his Parisian years. His brother Alfred writes: 'I am of this time, but you, Joseph, you are of the race, and thus you are of all times.' French critics agree. Stevens' works are a source of inspiration for the literature of the time. For example, Beaudelaire writes a poem about Stevens' dogs. Joseph Edouard STEVENS. Belgium, 1819-1892 Stevens was a painter, etcher and engraver. Brother of the gifted painter Afred Stevens. Education at the Academy in Brussels (1834-1835). Debuted at the Salon in Brussels in 1842. Continued his career in Paris in 1852. He was primarily the painter of canvases depicting domestic animals (dogs, monkeys, horses), sometimes in curious, even idiosyncratic situations, and far from romanticism. This realism, of which he was one of the pioneers, earned him the interest of critics and intellectuals. His approach was defined by this contemporary realism that eschewed idealized depictions of animals as heroic emblems of nobility. Rather, Stevens emphasized the ordinary animals of everyday life, with a particular focus on working dogs, stray dogs and all of the mutts that wandered the streets of Brussels. Museums and public collections, including' Royal Museum of Fine Arts Brussels, Ghent, Hamburg, Paris, Musée du Louvre, Rouen, Musee des Beaux-Arts. Stuttgart, State Gallery. King Leopold...

Victorian Butterfly Treasures: Captivating Hand-Colored Lithographs by Frederic C. Moore Description: This exquisite set of lithographs by Frederic C. Moore, created in 1878, offer...

A blue-grey, white vintage Russian, French oil on canvas painting, portraying a cloudy day of the Notre Dame Cathedral from across the Seine river in Paris, painted by Vladimir Volod...

Carmélite - 1862 Hand-Colored Lithograph of a Carmelite Nun This 1862 hand-colored lithograph portrays a Carmélite, or Carmelite nun, embodying simplicity and devotion. The nun is dressed in the traditional brown habit with a white mantle and wimple, reflecting the Carmelite Order's values of poverty, humility, and prayer. Her calm and contemplative expression symbolizes a life dedicated to spiritual reflection and service. The Carmelite Order, originating in the 12th century on Mount Carmel in the Holy Land, emphasizes a contemplative lifestyle centered on prayer, silence, and community. Reformed by Saint Teresa of Ávila in the 16th century, the Discalced Carmelites maintain strict adherence to these principles. Today, Carmelite nuns continue their spiritual mission worldwide, focusing on prayer and devotion in cloistered convents. This lithograph, part of the *Album ou Collection Complète et Historique des Costumes de la Cour de Rome*, was created by the renowned artist G. Perugini. It captures the serene and ascetic life of a Carmelite nun, making it a compelling piece for collectors interested in religious art...

A French Nobleman Portrait.

French 19th century hand-colored lithograph print of two young ladies from the important firm of Madame Pottin in Nantes. The image is tinted a pastel pink, almost peach, which suits...

A striking French lithograph originally conceived by the 18th century painter Fragonard, reimagined in the 19th century by engraver Mathieu Barathier. Titled “Le Recit” which transla...

English School, 19th century. A fine quality English School oil painting on canvas of a duck pond which has a small family boarding a tiny boat. Surrounded by lush trees, a dirt pat...

This print is from 'The Military Costume of Turkey. Illustrated by A Series of Engravings. From Drawings made on the Spot. Dedicated by Permission to His Excellency the Minister of the Ottoman Porte to his Britannic Majesty.' London, Published by Thomas M'Lean, Haymarket, (1818). Folio. One of 29 fine handcoloured aquatint plates . Very light offsetting from plate. The original accompanying text of this print is as follows: 'The Mamelukes who till very lately formed the military force of Egypt, were said not to exceed twelve thousand men, and were slaves imported from Circassia and Mingrelia. They were carefully instructed in every exercise of strength and agility, and usually repayed the kindness of their masters, the Beys, with the warmest gratitude and most valiant services. The Mamelukes being trained from their infancy to military exercises, displayed in them uncommon skill. The javelin aimed with precision, was never known but to strike the mark. "The well-tempered blade of Damascus," says Sonnini, "is by them wielded with astonishing dexterity, and in their hands proves a most dreadful weapon." He often observed them try these weapons in the following manner :—A large cushion stuffed with feathers or materials equally soft and flexible, was placed about the height of a man, in such a manner, that the slightest touch would cause it to fall, which they would divide with a single stroke of the sabre, whilst passing it on horseback at full speed. Such astonishing expertness joined to most excellent horsemanship, would, were they acquainted with European tactics, render them invincible; but formidable, as they individually appeared, their prowess became of little effect when opposed to the collective weight of a charge in squadron. Their horses possessed, in an eminent degree, the qualities most useful to man, inexhaustible strength, prodigious speed and inconceivable temperance, to which may be added the most perfect symmetry of form. The dress constantly worn by the inferior Mamelukes, was a pair of large crimson drawers of thick Venetian cloth attached to slippers of red leather, and a greenish cap of a peculiar form, fancifully decorated with a turban. Their usual arms were a pair of pistols...