Antique 19thC Ernest C. Rost Radtke Lauckner Landscape Windmill Etching 31"

Set of five late 19th century colored Italian architectural etchings from the folio “Gli Stili Nella Forma e Nel Colore – Dalle origini al...

Antique circa 1930's pencil signed etching by Leon A. Makielski titled "Huron River," showing a landscape view of the Huron river lined with trees. Beveled wood frame, white mat. "Leon A. Makielski (1885 - 1974) was active/lived in Michigan, Illinois. Leon Makielski is known for Landscape, portrait and still life painting, mural. Leon was born in Morris Run, Pennsylvania in 1885 and grew up in South Bend, Indiana. In the early 1900's he studied at the Art Institute of Chicago where by 1908 he became an instructor and was awarded the Institute's highest honor, the John Quincy Adams Traveling Scholarship. For the next four years Makielski studied in Paris and its environs. He was enrolled in the Academie Julian and the Grand Chaumiere both in Paris. He was a pupil of Henri Martin, Richard Miller, Lucien Simon and R. Menard. He exhibited in the Paris Salons of 1910 and 1911 and spent much of his time painting the countryside around Paris, especially Giverny and Versailles. "Undins's Pool", "Luxembourg Palace" and "Wildflowers, Giverny" are wonderful examples of his work during this period. William Gerdts cites Makielski in Monet's Giverny: "An Impressionist Colony" (Abbeville Press, 1993) as one of the most traditional of the second generation colonists who followed the lead of Theodore Robinson and other first generation Americans at Giverny. Makielski's training might have been earlier influenced by the Hoosier Impressionists active in Chicago during his training there, but the European experience clearly brought forth a style of its own. Makielski returned to South Bend in...

Mid century oval color etching by Luigi Kasimir titled Winter Landscape 3. Circa 1950s. Luigi Kasimir (1881 - 1962, Austro-Hungarian) Luigi Kasimir was born in 1881 at Pettau, toda...

"Vintage 1975 Ukrainian black and white etching, titled “Morning” showing a sunrise on a country road lined with power lines and a small farmhouse / farm building with a tall tower a...

"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...

Late 19th century hand colored engraving depicting "Esperando el Carruaje" (Waiting for the Carriage) by Alfredo Perea, showing a woman in a black pom pom shawl, reclining on pillows...

Antique Presidential Etching “Washington And His Family” Proof, Engraved by Wm. Sartain Philad., Proof Printed by Irwin & Sartain Philad., Framed, c1864 AFTER, Christian Schussele ...

A 19th century engraving of a young Mozart playing the harpsichord in the court of Hapsburg Emperor Francis I featuring the Emperor and a number of courtesans and members of the Haps...

Wonderful polychromed lithograph under glass with reverse glass hand painted gold gilt rectangular double lined border, along with a hand painted black matte; unique; I have not seen...

Magnificent pair of prints made by Gille, Marie, Joseph Albrier (1791-1863) French painter, representing two of the four Evangelists accompanied by their creatures in reference to the Tetramorph which is found in the Apocalypse of Saint John. They are enhanced by a refined frame in wood and gilded brass. Print N ° 1: Saint Luc, drawn by Joseph Albrier and engraved by Etienne, Frédéric Lignon (1779-1833). Period: 19th century Circa: 1820 Dimensions: height: 26.5cm x wide: 23.3cm x depth: 4.5cm Print N ° 2: Saint Marc drawn by Joseph Albrier and engraved by Jean Bein (1789-1857). Period: 19th century Circa: 1820 Dimensions: height: 26.5cm x wide: 23.3cm x depth: 4.5cm In Christian art, we often find a motif called the Tetramorhpe. From the Greek tetra “four” and morphé “form”, this term designates any representation of a pattern comprising four elements, or literally any image containing four shapes. It is the term used specifically to name the representations of the four evangelists, each being accompanied or represented by a creature. Three of them are animals while the last - the one that represents Saint Matthew...

A beautiful oil on canvas painting by Guido Agostini, Italian, 1865-1898, late 19th century in date. The sensitively painted landscape shows a girl on a country road with the cit...

ST/419/2 - Author: Johannes Episcopius (Amsterdam 1628- Den Haag 16719 ). Dutch painter and engraver of the golden Age. Signed plate etching with the monogram. beautiful impression...