Drawings

Vanity fair framed signedpPrint from Gaekwar Baroda circa 1901 We share what we love, and we love this pine framed original Vanity fair signed print from...

A pair of sketches depicting horses and their caretaker. Beautifully rendered, you can see the subtle shading of the horses, simply drawn. In one of the sketches, the foal follows it...

(7) 19th century British real estate land indentures lease documents 1867 framed 1860s European land indentures. Each is neatly framed with mat allowin...

Larger than usual. Antique Charcoal Nude Study Drawing. Newly framed and museum mounted. Part of a collection of 6. Five nude drawings, and one port...

Antique Charcoal Nude Study Drawing. Newly framed and museum mounted. Part of a collection of 6. Five nude drawings, and one portrait. (Please see o...

Larger than usual. Antique Charcoal Nude Study Drawing. Newly framed and museum mounted. Part of a collection of 6. Five nude drawings, and one port...

Antique Charcoal Nude Study Drawing. Newly framed and museum mounted. Part of a collection of 7. Six nude drawings, and one portrait. (Please see ot...

Antique Charcoal Nude Study Drawing. Newly framed and museum mounted. Part of a collection of 6. Five nude drawings, and one portrait. (Please see o...

Larger than usual. Antique Charcoal Nude Study Drawing. Newly framed and museum mounted. Part of a collection of 6. Five nude drawings, and one port...

Wimbledon-Furniture Wimbledon-Furniture is delighted to offer for sale this stunning set of four original 19th century Old Master drawings by F Mazzoli Please note the delivery...

PIERRE OLIVIER DUBAUT (1886-1968) Ink Painting of a Man and Woman on Horse Back

A framed Rococo melodramatic European drawing of a Woman with her Back Turned by Nicolas Lancret Nicolas Lancret Paris, France; first-half of the 18th century Black crayon on paper ...

A framed Baroque pencil study for a Diana and Endymion composition attributed to Giovanni Battista Cipriani Attributed to Giovanni Battista Cipriani Probably London, England; third ...

Lovely custom framed 19th century botanical engravings from "Sowerby's English Botany, or, Coloured Figures of British Plants". Sowerby was a famous English naturalist, illustrator a...

Large antique Victorian pastel painting showing a still life of a variety of fruit, in a faux wood grain oval frame. Measures: 45.2” x 0.75” x 23.25” / Sans frame - 39.5” x 17.25”...

Pencil on thin paper study of woman in chair. Late 19th century, unsigned. Unframed, minor smudging.

Wonderful charcoal portrait of a girl. By a very good victorian artist, William Wardlaw Laing* Sitter unknown. Signed lower left Presented in an antique bleached tropical hardw...

The Root of Kings Evil, 1835 This dark image is in reference to an incident which occurred in the winter of 1821. Great Britain, struggling with economic distress after the strain of the Napoleonic Wars, was thrown into a period of intense social unrest. The middle class, who bore the brunt of the cost of the victory against France, was struggling under the newly imposed Corn Laws. Periods of famine ensued, and unemployment soared as soldiers returned from the continent looking for work. One such soldier was Arthur Thistlewood. In January of 1820, King George III died unexpectedly, precipitating a constitutional crisis, and creating the necessity of a general election. Thistlewood, aggrieved by the erratic behavior of the now dead King, and affronted by the lavish lifestyle of the prince regent, took advantage of the wave of national instability, and organized a group of 12 men to overthrow the government. They called themselves The Spenceans Philanthropists, after Thomas Spence, a schoolteacher who had been imprisoned for selling “radical” books. Now known as the Cato Street Conspiracy (named after the address of the conspirator’s den), the incident is primarily well known for having gone famously wrong, and it being the last major insurrection in Great Britain. Almost absurdly, the Spenceans planned to murder the entire cabinet, and Prime Minister, Lord Liverpool, while they were all in attendance at a dinner in Grosvenor Square. Unfortunately for Thistlewood, along with his cronies, he was informed upon, and the group was arrested on their way to the Cato Street meeting place. The group was reportedly confronted with bags in their hands, which they had brought to carry the heads of the men they intended to assassinate. Thistlewood, along with co-conspirators Thomas Preston, John Hopper, and James Watson, was convicted of High Treason, and was publicly hanged and beheaded. The other conspirators were sent to Australia. In this ghoulish image by George Cruikshank, an apparition of a demon appears to King George III from the well of a censer, as he sits in his study, reading on the subject of the history of rebellion, and specifically, the etymology of the word “Radical.” Growing from a mangled root, the demon holds lances in both hands, one run through the Holy Bible, with the severed head of the Archbishop of Canterbury impaled upon its blade, the other run through the Magna Carta...

The hand-written notes on the back of this miniature watercolor tell what was, at the time, a scandalous story. The portrait is of Hanah Tichbon. The inscription reads in part, "wen...

18th century German, a hand-colored engraving of a dressage horse and rider from Description du Manège Moderne by Friedrich Wilhelm, Baron Rais d' Eisenberg (German, ca. 1700-ca. 1770). Engraved by Bernard Picart (French, 1673-1733). Titled "Le Brillant", this dressage engraving is plate XXXIII. There is a gallery label verso. The print is matted and framed under UF-3 plexiglass, which offers the maximum amount of UV protection (approx. 97%). This print was originally part of an illustrated book Baron d'Eisenberg made describing the art of the cavaliers and depicting the different breeds of horses- The full title of the book is L'Art de Monter a Cheval: ou Description du Manége Moderne, Dans sa Perfection, published in Leipzig: Arkstée et Merkus, 1747). A set of 7 framed engravings from the same book sold at Sotheby's for $9,500 (plus tax and buyers premium). Reference: The author, a German horseman and artist, spent some of his youth at the manège of Saxe-Weimar before entering into the service of the Emperor. He then spent six years in Naples as the Master of Horse of the Viceroy before returning to Vienna where he studied under M. de Regenthal, the imperial Master of Horse. He participated in the coronation of the Emperor Charles V at Frankfurt in 1711, then spent some time in England, but was back in Germany before 1753. He probably died in Tuscany where he was Director and Master of the Horse at the Academy in Pisa. Brunet II, 957; Mennessier de la Lance I, p. 438. The Baron wrote several important and lavishly illustrated books on horses: his Description du manège moderne dans sa perfection, London 1727, and Dictionnaire des termes du manège moderne, 1747, being the best well-known. He dedicated Description du Manège Moderne to King George II and to his son, His Royal Highness the Prince of Wales. Subscribers to the book included royalty and nobility from all over Europe. The engraver was Bernard Picart, born in Paris in 1673. He gained honors at the Academy of Paris at the age of sixteen. He was a master designer and engraver and worked in Paris and Amsterdam until his death in 1733. Dimensions: 9"h x 12"w (sight), 16.5"h x 19.25"w (frame) Condition: Good, some rippling to sheet, not examined out of frame. Provenance: Lombard Antiquarian Maps & Prints, Cape Elizabeth...

Original drawing on paper. It has been made in England in the 19th century. It is representing the face of a young girl.

Important ink drawing representing animated landscape with ruins and aqueduct in the background Venetian school Every item of our Gallery, upon request, is accompanied by a certific...

A handsome pair of early to mid-19th century Old Master style academic studies of nude men, pencil on paper, each measuring approximately 10 x 14 in (25 x 35.5 cm) Unsigned, probably...

Fine pair of Fisher & Son London hand coloured engravings from the early Victorian Period. Beautifully framed and mounted and in good condition. Detailed scenes of Cornwall...

We are delighted to offer this exquisite circa 1850 French school chalk on paper sketch of the side of a ship A beautiful example of the French school, the piece is very serene an...

A beautiful drawing of The Grand Canal Fabulous quality. On wove quality paper/card Signed on verso. Unframed *Robert Hindmarsh Grundy. 1816-1865. Examples of his wor...

Nude male academy. Red chalk on paper. While the artist who drew this drawing is not known, the confidence in the trait along with the fascinating perspect...

19th Century. Great Crested Grebe by Prideaux John Selby, Selby was an English ornithologist, botanist and natural history artist. He studied at un...

A reproduction of an antique map of Rome. Can be sold framed or unframed.

Richard Beavis (British, 1824-1896) Near Arles on the Rhone Initialed and titled lower left. Ink and watercolor on paper/board. With an old attribution to Bonnington. Sight size: 6 x 13 in. The dimension given otherwise includes the frame. Framed in a charming late 19th century frame. Best known for his rural landscapes, the British painter Richard Beavis populated his scenes with picturesque grazing cattle and people hard at work as well illustrated in our watercolor. Provenance: The estate of Sir Edwin A.G. Manton (1909-2005) a driving force in the creation of the American International Group (AIG), a collector of paintings by John Constable...

A fine French 19th century etching and drypoint Titled "Soirée d'été" (Summer Evening) by Jacques Joseph Tissot (French, 1836-1902) depicting Mrs. Kathleen Newton resting on a lounge chair. Signed and dated (l/l): J.J. Tissot, 1881 in the plate. Under the mat, the front of the sheet inscribed in pencil with a '1' in a circle, the verso of the sheet with old price inscription "450-" in pencil. Circa: 1881-1882. Measures: Plate Height: 9 inches (22.9 cm) Plate Width: 15 1/2 inches (39.4 cm) Sheet Height: 14 1/2 inches (36.8 cm) Sheet Width: 20 5/8 inches (52.4 cm) Frame Height: 19 inches (48.3 cm) Frame Width: 24 1/2 inches (62.2 cm) Frame Depth: 1 1/8 inches (2.9 cm) Literature: Wentworth 56. Note: Tissot's from 1881 is said to depict his lover, the Irish divorcee Mrs. Kathleen Newton, resting on a lounge chair. Provenance: Private collection, Los Angeles, California Jacques Joseph Tissot (French, 15 October 1836 – 8 August 1902), Anglicized as James Tissot, was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and characters from the Bible. Jacques Tissot was born in the city of Nantes in France and spent his early childhood there. His father, Marcel Théodore Tissot, was a successful drapery merchant. His mother, Marie Durand, assisted her husband in the family business and designed hats. A devout Catholic, Tissot's mother instilled pious devotion in the future artist from a very young age. Tissot's youth spent in Nantes likely contributed to his frequent depiction of shipping vessels and boats in his later works. The involvement of his parents in the fashion industry is believed to have been an influence on his painting style, as he depicted women's clothing in fine detail. By the time Tissot was 17, he knew he wanted to pursue painting as a career. His father opposed this, preferring his son to follow a business profession, but the young Tissot gained his mother's support for his chosen vocation. Around this time, he began using the given name of James. By 1854 he was commonly known as James Tissot; he may have adopted it because of his increasing interest in everything English. In 1856 or 1857, Tissot travelled to Paris to pursue an education in art. While staying with a friend of his mother, painter Elie Delaunay, Tissot enrolled at the Ecole des Beaux-Arts to study in the studios of Hippolyte Flandrin and Louis Lamothe. Both were successful Lyonnaise painters who moved to Paris to study under Jean-Auguste-Dominique Ingres. Lamothe provided the majority of Tissot's studio education, and the young artist studied on his own by copying works at the Louvre, as did most other artists of the time in their early years. Around this time, Tissot also made the acquaintance of the American James McNeill Whistler, and French painters Edgar Degas (who had also been a student of Lamothe and a friend of Delaunay), and Édouard Manet. In 1859, Tissot exhibited in the Paris Salon for the first time. He showed five paintings of scenes from the Middle Ages, many depicting scenes from Goethe's Faust. These works show the influence in his work of the Belgian painter Henri Leys (Jan August Hendrik Leys), whom Tissot had met in Antwerp earlier that same year. Other influences include the works of the German painters Peter Von Cornelius and Moritz Retzsch. After Tissot had first exhibited at the Salon and before he had been awarded a medal, the French government paid 5,000 francs for his depiction of The Meeting of Faust and Marguerite in 1860, with the painting being exhibited at the Salon the following year, together with a portrait and other paintings. Émile Péreire supplied Tissot's painting Walk in the Snow for the 1862 international exhibition in London; the next year three paintings by Tissot were displayed at the London gallery of Ernest Gambart. In about 1863, Tissot suddenly shifted his focus from the medieval style to the depiction of modern life through portraits. During this period, Tissot gained high critical acclaim, and quickly became a success as an artist. Like contemporaries such as Alfred Stevens and Claude Monet, Tissot also explored Japonisme, including Japanese objects and costumes in his pictures and expressing style influence. Degas painted a portrait of Tissot from these years (Metropolitan Museum of Art, New York), in which he is sitting below a Japanese screen hanging on the wall. Still on Top, 1873 Tissot fought in the Franco-Prussian War as part of the improvised defense of Paris, joining two companies of the Garde Nationale and later as part of the Paris Commune. His 1870 painting La Partie Carrée (The Foursome) evoked the period of the French revolution. Either because of the radical political associations related to the Paris Commune (which he was believed to have joined mostly to protect his own belongings rather than for shared ideology), or because of better opportunities, he left Paris for London in 1871. During this period, Seymour Haden helped him to learn etching techniques. Having already worked as a caricaturist for Thomas Gibson Bowles, the owner of the magazine Vanity Fair, as well as exhibited at the Royal Academy, Tissot arrived with established social and artistic connections in London. Tissot used...

Drawing of children playing besides a basin of water. Framed in a Louis XVI giltwood frame. Typical of the style and subjects of Francois Boucher. Chalk and pencil on paper.

Antique pastel portrait of a young boy in early 20th century clothing sitting upon a Victorian Northwind chair. A sticker previously affixed to the fro...

Drawings, one representing San Geremia on the Grand Canal, the other La Salute on the Grand Canal. Both drawings are in a style evocative of Francesco Guardi (1712-1793) specialist o...

Portrait crayon copper engraving of Johannes Ewald (1743-1781) by Johan Terkel Kleve (1743-1797) Engraving on paper, approx. 1770. Measures incl. frame 24 cm.

La Jeunesse (Youth) Tapestry Polychrome wool and silk France, Aubusson, circa 1750 It measures 107.08 in height x 104.33 in (272 cm height x 265 cm). State of conservation: good The tapestry is accompanied by the engraving from which the subject was taken. The engraving measures 23.50 in x 25.86 in (59.7 cm x 65.7 cm) with the frame. The Aubusson tapestry has controversial origins: some believe that it was the Saracens who imported this type of work into Europe while other authors believe that the production began at the same time as the marriage between Louis I of Bourbon and Maria de Hainaut in 1310. It was at this time that a considerable importation of tapestries from Flanders into France began, followed shortly thereafter by the importation of their production techniques. At the beginning of the seventeenth century a royal edict from Henry IV halted the importation of Flemish tapestries, contributing to the subsequent Expansion of Aubusson production. The status of royal manufacture was to be granted only in 1665, even though the Nantes edict caused a drop in production because of the forced migration of weavers to Germany. The full recovery and the success of the manufacturing took place during the eighteenth century when the great painters and the tapestry manufacturers began to collaborate. Great French artists of the time and specialist painters, the “cartonniers”, painted “cartons de tapisserie” in oil or tempera, all of which were to be a source for the tapestries. As an alternative to the “cartons”, scenes taken from prints and engravings were freely used. The tapestry in question, made of wool and silk, is in good condition; the colors are still fresh and the silks, which give brightness to the scene, are well preserved. There are a small number of integrative restorations present, while the lining and the suspension system have been recently refurbished. The work is made with a flat-weave, according to the custom of the Aubusson manufactures, which is clearly demonstrated by this work since it shows all the technical and material characteristics typical of the first half of the eighteenth-century production: the “Jeunesse” was probably woven in the middle of the XVIII century. The scene itself is compelling: a rural clearing is depicted, centered around a tall tree with dense fronds with lance-shaped leaves. In the shade of this tree some scenes of courtship can be seen. A couple hugs each other, one is caught stealing a kiss and another, lying softly on the grass, is still at the early stages of courtship: together with the suitor the girl looks with smiling malice at the kissing couple. On the right, two young men practice archery while aiming at a target placed on top of a pole. The scene, with male and female characters intent on games and gallantry in a festive atmosphere, is taken - faithfully, but in mirror-image - from an engraving, which in turn was itself taken from the painting (now kept at the National Gallery in London, inv. NG103 and part of a series with the four ages of man) by Nicolas Lancret, produced around 1735. The tapestry is accompanied by a copy of the engraving, which bears, at the bottom, the name of the author (“N. Lancret pinxit”), the name of the engraver (“N. De Larmessin sculpsit”) and four short verses on the subject of love disputes: Pourquoi tous ces combats si chers a la jeunesse, Quels frivoles talents veut-elle mettre au jour? Non: chacun voudroit vaincre aux yeux de sa Maitresse, La Lice est une Scène ou triomphe l’Amour. Why all these fights so dear to youth, What frivolous talents does it want to bring to light? No: everyone would want to win in the eyes of his Mistress, The Lice is a Scene where Love triumphs. At the bottom we read: “A’ Paris chez N. De Larmessin graveur du Roy Rue de Noyer à la 4 (?) porte cochère a droite entrant par la Rue St. Jacques A.P.D.R. [Avec Privilège Du Roy]”. Nicolas Lancret (1690-1743), along with Antoine Watteau, was a pupil of Pierre Durin and Claude Gillot...

French hand colored engraving on paper, mid-19th century, possibly earlier titled “La Duchesse de la Valliere contemplant un enfant de Louis XIV et de Madame de Montespan...

French hand coloured engraving on paper of generous size, early 19th century, after Horace Vernet (French 1789-1863). “Madame de la Valliere aux genoux de la Reine, lui demandant...

French hand colored engraving on paper, mid-19th century, possibly earlier titled “Louis XIV et Madame de la Valliere dans le Couvent des Carmelites, a Chaillot” “Louis XIV an...

Pair of late 19th-century neoclassical charcoal drawings of a Greek or Roman nude male sculpture in the French Academy style. Not unlike Michelan...

Lovely etching on paper in back ink by Giovanni Antonio Canal (Canaletto). Measurements: 22" x 15" Hand-numbered in pencil at the bottom right with the number 6. Part of a co...

Pair of sportsman prints titled; Live-bait fishing for Jack and Fly-fishing for Trout.; Aquatints with original hand color. Done after James Pollard, by R G Reeve...

Original Drawing, Circle of Giovanni Battista Tiepolo 1696-1770 Venice, Italy Although we offer this old master drawing as circle of Tiepolo, we are convinced, based on the composi...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). A good smoke signed oil on panel M...

Venetian Capriccio, after Francesco Guardi (Italian, 1712-1793) Unsigned, with a label from Wandenberg Freres (Paris) affixed to the back of the mat.

This period and vintage Label Riche black and white etching of woman with dropped shawl is very sensual. It is hallmarked at bottom left with male caricature and signed at bottom right. It is by Lobel...

Red chalk Old Master Sketch of a Battle Scene after Maarten van Heemskerck Follower of Maarten van Heemskerck Netherlands; ca. 1600 Red chalk on l...