Gerald Harvey A Nation Blessed Washington DC Cityscape Lithograph w COA

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...

Joan Miro (Spanish, 1891-1983) entitled "Owl." Miro created several paintings and lithographs of owls in the classic abstract style with primary colors of red, blue, green, yellow and black. Includes Certificate of Authenticity by Park West Galleries...

Mid-Century Modern pencil signed cityscape / city skyline drypoint etching, New York IX showing the United Nations building, pencil signed and numbered 99/200 by Bernard Buffet. ...

"Vintage 1999 limited edition lithograph print of “The Forest Chapel” from Chapels of Nature II by Thomas Kinkade. Signed and numbered 129/2850-I. Includes Certificate of Authenticity. “William Thomas Kinkade III (January 19, 1958 – April 6, 2012) was an American painter of popular realistic, pastoral, and idyllic subjects. He is notable for achieving success during his lifetime with the mass marketing of his work as printed reproductions and other licensed products by means of the Thomas Kinkade Company. According to Kinkade's company, one in every twenty American homes owned a copy of one of his paintings. Kinkade described himself as a ""Painter of Light...

Massive abstract quadriptych lithograph print. Signed by the artist lower right, featuring abstract seascape of sailboats, ocean, waves and sand. Edition of 137 of 300.  

"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...

Antique print titled 'Meach-O-Shin-Gaw'. Lithograph of a warrior of the Kaw Nation. The Kaw Nation (or Kanza or Kansa) are a federally recognized Native Ameri...

For FULL item description click on CONTINUE READING at the bottom of this page. Offering One Of Our Recent Palm Beach Estate Fine Art Acquisitions Of Peter Max " Impressions of ...

Antique print titled 'Elevation de l'Eglise du college des quatre nations et de ses aisles et pavillons en retour du côte de la riviere, de la fondation du Cardinal Mazarin...

Great print of the Baltimore-Washington Railroad Steel engraving after the original drawing by W.H Bartlett Published, circa 1850 Unframed. Minor crease to top right corn...

Colored lithograph of Napoleon in custom gilt frame and needlepoint matte.

Jörgen Fogelqvist Lithography on Van Gelder Zonen paper Number 88/150 This work is signed by the artist and has an individual number Working dimensions ...