James Allen Art

Balmoral by His Majesty King Charles III (formerly known as HRH Prince Charles, The Prince of Wales) - Hand Signed Limited Edition Lithograph. Belgravia Gallery has been honoured to be associated with the artworks of HRH The Prince of Wales for over 25 years. Anna Hunter, gallery owner, wrote a handwritten letter to the Prince asking him if he would consider making signed lithographs from his beautiful watercolours which could be sold in aid of his charities. The gallery subsequently worked with the Prince for over 10 years publishing some 18 different editions and raising over £4million for the Prince’s Charitable Foundation. Lithographs were made from the Prince’s original watercolours under the guidance of Stanley Jones – a celebrated printmaker who had previously worked with Henry Moore for 30 years, and with Elizabeth Frink, David Hockney and others. Each one is hand-signed. “…One thing I have discovered in the course of my painting efforts is that Balmoral Castle...

English mahogany tall case clock with scrolled pediment, brass finials, Corinthian columns, and intricate inlaid motif. Mid 19th Century

Bernard Cathelin (French 1919-2004) "Les Mexicaines" Colored Lithograph on Rice Paper. A peaceful impressionistic scene of three Mexican women in the street. Red. Orange. Black. W...

This Black Forest cuckoo clock has a twin fusee movement complete with typical wooden plates and original bellows and pendulum. The case is made in the highest tradition of black for...

Very fine English early to mid-19th century Gothic clock of important scale having carved and gilt pediment and polychrome decorated case with trefoil tr...

A large beautiful mystery Congreve rolling ball clock. The original clock is invented by an English - Sir W. Congreve in 1808 and it's valued over $40,000 if you can find one. This one comes with a matching burl wood veneer display stand and protective dome. The glass dome has solid brass frames and it even has a front door, which allows you to wind the clock safely without lifting up the heavy glass dome. Veneered base has a drawer for storing the large winding key. This Congreve clock...

24k Astronomical Porcelain dial 8 day Fusee chain Skeleton clock with moon dial Here is a very nice looking 24K plated large skeleton clock, housed inside...

A striking two train bracket clock of exceptional quality by one of the great nineteenth century makers. The eight day twin fusee movement strikes on a blued steel gong behind a silvered arabic dial, signed Dent and numbered 58242 on both th dial and the back plate. Housed in a solid mahogany case with brass mounts and a gadrooned pergoda top surmounted by an acorn finial, and supported by bun feet. The sides ar pierced with attractive fish scale sound vents lined with dark blue velvet. The movement and case are both of remarkable quality, as you would expect from a clock made by Dent. The history of Dent & Co. spans three centuries of precision watch and clock making in Great Britain. Established in 1814 by Edward J. Dent, the company embraced the Victorian fervour for technological innovation and created precision chronometers to navigate the Royal Navy and guide some of the most intrepid explorers on their voyages. The British Empire was in full expansion and its maritime tradition had produced some remarkable technological breakthroughs from the late 18th century. Propelling the impetus of Britain’s primacy, Dent proved a key player in Victorian horological history manufacturing the Standard Clock at the Royal Observatory, Greenwich which was to keep “Greenwich Mean Time” the time to which all others in the Empire were referred (better known today as G.M.T.) and continued to do so until replaced by an electronic clock in 1946. Dent also made probably the most famous clock in the world - the Great Clock for the Houses of Parliament, familiarly known as Big Ben. Dent’s reputation soared and their chronometers accompanied some of the century's most influential and colourful explorers. Dent chronometer...

24K Gold Plated 8 Day Great Wheel Fusee Driven Porcelain Dial Skeleton Clock Here is a very nice looking 24K plated large skeleton clock, housed inside a brass frame glass case. It ...

Artist: Toulouse Lautrec (1864 -1901) French Title: The Chestnut Vendor Medium: Lithograph, Year: 1897 Signature: Signed in Plate (TL) Lower Left Dimensions: 20” x 17” Framed, 11” x 8.5” Unframed A lithograph of a Toulouse Lautrec drawing...

An exceptional English fusee carriage clock timepeice by two of the nineteenth centuries greatest clock makers. The eight day single chain fusee movement with maintaining power and j...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA CHAINE SIMPSON" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #60, 1900. Plate #238 Unframed Size: 11 3/8 x 15 3/4” The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. "In her recent excellent biography of Lautrec, Julia Frey indicates that 'Henry, the frustrated athlete, was compulsively familiar with the vocabulary and technical aspects of a variety of sports in which he could participate as a spectator: horse and bicycle racing, wrestling, yachting, bullfighting. He watched them all with the same intensity that he watched a line of dancers or a circus bareback rider, attracted by the beauty of movement, but also by the smells, sounds and excitement of the spectacle (Frey, p.353) His 'insider' knowledge of the cycling field shows up abundantly in this poster for the French agent of the Simpson bicycle chain company. In the foreground is the champion cyclist Constant Huret. In the background are Tristan Bernard, the sports impresario who was a close friend of Lautrec, with Louis Bougle, the French agent who adopted the name 'Spoke.' A touch of levity is added by what appears to be a 'bicycle-built-for-ten' in the upper-left corner, in fact it's two five-seaters, known at the time as 'quints.'"(Rennert, PAI-XXII, 35)Henri de Toulouse-Lautrec came from an aristocratic background, having been born the son of an earl.Even as a schoolboy he showed a talent for drawing. By 14 he had suffered two horse back riding accidents, combined with a serious bone disease which eventually left him crippled for life. His body continued to grow but not his legs, he would remain only five feet tall and suffer pain and embarrassment his entire life.At the age of 18, Lautrec moved to Montmartre in Paris to study art seriously. He worked with artists Louis Anquentin, Emile Bernard, Degas, Van Gogh and others. He became a frequenter of the the cafes, cabarets and brothels of the neighborhood, drawing from them inspirations for his artistic themes. As the artist's stature grew, several magazines wanted to publish his work, including Le Rire. His subjects, as well as street life, included some of the most famous music-hall performers, with whom he became friends, such as Yvette Guilbert, La Goulue Jane Avril, May Milton, May Belfort...