1801 French Martinet Fores Satirical Supreme Bon Ton Card Game Etching

"Antique 18th century hand colored copperplate engraving of a pair of tropical bearded and spotted birds by Francois Nicholas Martinet (1725-1804), Plate 746, circa 1770. “Barbu a ve...

Antique hand colored engraving of “Blind Man’s Buff.” featuring a large game of hide and seek. Original painted by Sir David Wilkie 1812. Engraved by ...

Midcentury 1940s etching of the National Cathedral, Washington, D.C. (1943) pencil signed by Reynold Weidenaar. Reynold Henry Weidenaar (American, 1915-1985) National Cathedral, Washington D.C., 1943 etching signed and titled in pencil lower margin, signed in plate edition of 25 “The following is from Fred W McCraw, art writer and artist. McCraw served during Weidenaar's last years as a consultant to the artist. Then, for several years after that, he also assisted the artist's family in managing Weidenaar's estate: Reynold Weidenaar was born in Grand Rapids, Michigan on 11/17/1915, and died there on 4/23/1985. He lived most of his life in west Michigan, with brief residencies away in Wisconsin, Kansas City, Missouri and in old Mexico...

Vintage Dean Pingray Brown Bones skeleton etching. This piece was made on valentines day in 2009, Edition 1 of 10. Measures: 17" x 1" x 16" / Sans Fram...

"Vintage 1989 black and white Ukrainian (Borislav) etching by Lanyak Dmytro Oleksiiovych titled “Assortment” (also translates to range or stock) showing a woman / figure standing with a butcher knife at a meat scale...

"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...

Francois Nicholas Martinet bird engraving, circa 1770. The framed Francois Martinet engraving is from Buffon's Historie Naturelle des Oiseaux displa...

Antique print titled 'Wrong Contre or Vis a Vis. Natural Accidents in Practising Quadrille Dancing'. Satirical print of quadrille dancing. Published by...

Great image of a stag Copper-plate engraving Published by Bunny and Gold . Dated 1801 Unframed.

Antique print titled 'The Rooms—Sir are a Guinea a week, And—We'll do for ye!!' Old satirical print. In a sparsely furnished room, with green half-...

Rare antique print titled 'J. Goodman (preparing to start)'. Sports etching of a runner made after T. Jones. The text reads 'This celebrated Runner after beating Dank, of York, P. In...

Seven prints from the 1857 re-edition of Thomas Rowlandson's visual satire "The Comforts of Bath". Each print by the famed British caricaturist chronicles an escapade of the prot...