Antique French Etching after Abraham Bosse, "Le Retour du Baptême"

A good, signed, antique Dutch delft wall plaque with shaped edge in lozenge form. It depicts an early canal scene with bridge (and town in the bac...

A fine antique of the colony of Pennsylvania. Noted at the top of the sheet as a 'Map of the province of Pensilvania'. This undated and anonymous map is thought to be from the Gentleman's Magazine, London, circa 1775, although the general appearance could date it to the 1760's. The southern boundary reflects the Mason-Dixon survey (1768), the western boundary is placed just west of Pittsburgh, and the northern boundary is not marked. The map has a number of reference points that likely refer to companion text and appear to be connected to boundaries. The western and southern boundaries are marked Q, R, S, for example. A diagonal line runs from the Susquehanna R to the Lake Erie P. A broken line marked by many letters A, B, N, O, etc., appears in the east. There are no latitude or longitude markings, blank verso. Framed in a shaped contemporary gilt wooden frame and matted under a cream colored matte. Bearing an old Graham Arader Gallery...

A fine and large-scale Capodimonte porcelain plaque depicting a Naiad (or a water nymph from Greek mythology). She is attended by a small ...

A fine 18th century Dutch Delft pottery tile in manganese. With a scene depicting the Binding of Isaac - the famous Biblical story from the book o...

Title: Einstein State I (with embellishments). By: Steve Kaufman. Date: 1990s. A limited edition screen-print on canvas with hand embellishments (in oil). Depicting Alber...

Title: Marilyn Monroe Silver By: Steve Kaufman. Date: 1990s. A limited edition screen-print on canvas with hand embellishments (in oil) depicting Marilyn Monroe. Sign...

"Antique cityscape print “From an Etching by Frank Brangwyn, R.A. A.D. 1922 by The architectural Press. “Frank Brangwyn was born in 1867 in Bruges, Belgium. His family moved back to London in 1875 where he attended school until 1879, when he left as much out of boredom as necessity. His father worked as an architect, muralist, and in other arts-related crafts. Frank helped around the studio and continued his own artistic education by copying drawings at what was to become the Victoria and Albert Museum. His abilities attracted the notice of more established artists and at the age of 15 he was working for William Morris getting rudimentary training and preparing designs for many aspects of Morris' Arts and Crafts output. In 1885, with nothing much more than youthful enthusiasm, he submitted a painting to the Royal Academy Summer Exhibition and was accepted - at the age of 17. Spurred by this success he rented a studio and began a period of productive poverty. With little money, his early work revolved around the sea where traditional subjects for British art were moored and made docile models. This is considered his """"""""grey"""""""" period and the limited palette may be due as much to limited funds as to artistic intent. His 1890 canvas, """"""""Funeral At Sea"""""""" is typical of this period and won a Gold Medal at the 1891 Paris Salon. The young artist was making waves. In 1888, he worked on a freighter for passage to the Near East of Istanbul and the Black Sea. Orientalism was a major force in European art at the time and Brangwyn was as seduced as many artists were with the colors and light of the Mediterranean and African coasts. These trips brought a new palette to his work and something new to British art. The Buccaneers, at right, is from 1892 and the difference between it and his """"""""grey"""""""" period is dramatic. Just as we have movie critics today, art critics proliferated during the 19th century. Walter Shaw Sparrow, in his excellent """"""""Frank Brangwyn and His Work"""""""", devotes several chapters to the reaction of these critics to Brangwyn's art. Opinions were as varied as the two styles shown here, but what is most interesting is the degree of attention being paid to the work of a self-taught 25-year old. Whatever their views of his work, he was not being taken lightly. Not surprisingly, the bright hues and intense light of his new style were not appreciated by the establishment. To put his work in historic perspective, this was a period of Impressionism, Art Nouveau, and the Munich and Vienna Secessions. In British art, Sargent, Whistler, Waterhouse and Draper were popular. Lord Leighton, Burne-Jones and Alma-Tadema were still active. Brangwyn was following none of these men and the critics were at a loss as to how to pigeonhole him. The continental critics in France, Munich and Vienna had no such trouble. He was seen as a most modern and successful artist from the beginning. For his part, Brangwyn followed his own muse and in doing so found himself at the vanguard of the art world. In 1892 he began working as the designer for the new art magazine, """"""""The Graphic"""""""". In 1895 he was asked to paint murals for the notorious gallery, L'Art Nouveau, in Paris. He won medals for his work in Munich and Paris. At the age of 30, while Britain puzzled over how to evaluate his work, the rest of the world viewed him as the definition of modern British art. He illustrated books: """"""""Don Quixote...

Collectible antique Art Deco hand-colored (pochoir) fashion plate image entitled “Le Retour" by one of the greatest designers and illustrators, Georges Barbier (1892-1932). Le Retour...

Antique print illustrating Robert le Mennoit's vision after a storm that destroyed his ship. Robert le Mennoit, Robert l'Ermite, or Robert the Hermit saw a vision of God after a huge...

Wonderful image after Raphael Fine Steel engraving. Published C.1850 Unframed.

Wonderful image after Raphael Fine Steel engraving. Published C.1850 Unframed.

Wonderful image after Rubens Fine Steel engraving. Published C.1850 Unframed.