Painted Wall Decorations

A sweeping Bavarian mountain landscape unfolds across this late nineteenth century oil on canvas, signed R. Waldau in the lower foreground. Towering Alpine peaks rise beneath a lumin...

Edna Palmer Engelhardt (PA USA, 1897 - 1991) Untitled, c.1960s. Watercolor 8 x 12 Signed lower right. Edna Palmer Engelhardt was a professiona...

A charming set of architectural coloured prints depicting scenes of places of repose such as temples and folly's. As the French, German, and English languages are used in the titles ...

A beautiful early 18th century English school oil on canvas portrait painting of a young girl in fine clothes. Pointing to her pet dog while boats are sailing past the window in the...

French circa 1890 portrait of a beautiful young woman in a fitted green blouse that complements her complexion, with pronounced red lips. The dark color palette of the work blends to...

A dramatic maritime composition with strong movement and atmosphere, this large vintage oil painting captures several sailing vessels navigating choppy coastal waters beneath an expa...

This is a Scandinavian vintage oil on canvas painting with motive of a village behind vast, green fields. A church is reaching above the rooftops of several houses and a windmill app...

Beautiful tile mural with the "SHIP" motif finely painted. Quantity: 24 tiles Tile mural size: 23.6"H X 35.4"W (60cm X 90cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Origin: Portug...

Frambuesas Del Sur. Francisco Mery. Oil painting on linen. Francisco Mery is a Chilean artist born in 1961. He is a graphic designer and self-taught painter. According to the arti...

Framed oil on canvas abstract painting, unsigned. Purchased from an estate in San Francisco / Bay Area. This is a very good quality painting (not a weekend type painter). Califor...

A dark-blue, red vintage Mid-Century Modern French abstract oil on wood painting of a color field, painted by Daniel Clesse in good condition. Signed on the lower right. Wear consist...

Vintage French glazed wall hanging tile by Roger Capron (circa 1950s). A charming and characterful small wall tile — one of the most collectable and approachable formats in Roger Cap...

This original painting for the cover of Eva magazine, depicting a high fashion model with a lavishly feathered hat, was painted by Wilhelm Kåge, best known as the designer behind the...

A striking antique Chinese ancestor portrait depicting a seated male official in formal dress, dating to the late Qing dynasty, circa...

This is a pair of original oil on canvas paintings from Denmark painted by renowned artist William Henriksen (1880-1964). William Henriksen was an apprentice of famous painter H.O. ...

This atmospheric antique French oil on canvas painting, dating to circa 1870, presents a beautifully rendered forest clearing opening toward a shimmering lake and distant mountains, ...

Copy of Modern Abstract oil painting consisting of black ground with with red,white, yellow and blue collage in a Cubist style Condition: Good; Wear consistent with age and use

British late twentieth century textured oil on canvas monotone abstract, signed verso Melrose 1993. Framed in black and gilt wooden frame.

Italian Renaissance style (20th Cent) gilt framed oil still life painting of fruit, jug, and basket

Vintage blue painted Tri-Ang Express locomotive by Lines Bros. England,1950's Unusual red wheels Good condition apart from the obvious rust Free UK shipping

Mid-Century Modern heavy impasto floral still life oil painting circa 1950s A brilliant original oil painting by a mystery artist. The painting is si...

Fine quality antique oil painting by unknown artist , much admired and celebrated River landscape, with two people overlooking at the river and a bridge .interesting with Fine detai...

Oil on canvas impressionist style landscape painting by German artist Paul Ernst Wilke b.1891 - d.1971. 1913-14 studied at the art school in Bielefeld, 1914-15 in Dusseldorf. 1915-1...

This delicate still life captures a vibrant bouquet of pansies in full bloom, arranged informally in a simple glass vase. Rendered in oil on canvas, the composition celebrates the fr...

Certified Kimono Meister work / Certificate of Authenticity included. One-of-a-kind Japanese textile art made from vintage kimono fabrics. Sustainable artwork for modern interiors, ...

We offer an exquisite Aboriginal artwork created by Tjunkiya Napaltjarri (1927-2009) in 2002, sourced from the Papunya Tula Art Center. Her work can be found in the collections of th...

"Monkeys on the Hudson" by Kevin Paulsen. Forest scene with playful monkeys, created over a three year period with pigment on plaster on polystyrene, in shadowbox frame.

Original B&W Abstract Painting in Antique gilt Frame by Shannon Weir, acrylic on panel

This original 19th-century painted wall cabinet is a charming example of rural European craftsmanship, retaining its untouched surface and warm, time-worn character. The cabinet feat...

Pair of Art Nouveau wooden hand-painted floral shelves, Germany, 1910. A beautiful pair of antique Art Nouveau period wooden shelves/consoles with hand-painted floral decors. These ...

This untitiled oil painting is thought to have been painted either before of after WWII, is an excellent example the painter's work at this time. Courtney Charles Allen (1896 - 1969) was born in Norfolk, Virginia, was a WWII Veteran in France and was active/lived in New York, and Massachusetts. Courtney Allen...

"The Chaperone" by Kevin Paulsen. Large format "fragment" painting created with pigment and plaster on polystyrene, mounted in shadow box frame.

An atmospheric early 19th-century British oil study depicting the Lord Mayor’s Procession on the River Thames, offered as Circle of J. M. W. Turner (1775–1851). Painted with remarka...

The painting depicts the Greenland ice sheet with several icebergs. One of Eva's last big project was to paint motifs from the arctic. This painting is from her estate and there...

Composition of 18 antique botanical prints from the iconic encyclopaedia "Histoire Naturelle" Buffon 1749-1804, each print is individually matted an...

Decorate a wall with this beautiful and colorful painting. Painted on canvas in Paris circa 1890 and set in a thick carved and gilt frame, the artwork beautifully captures the vibrant atmosphere of La Madeleine in Paris, a neoclassical church known for its imposing columns. The scene is set in front of the church, where bustling market stalls display a colorful array of flowers, and elegantly dressed Parisians walk by. The artist skillfully contrasts the grand architecture with the lively street life, highlighting the charm of daily activities in the heart of Paris. The use of rich colors and detailed brushwork conveys a sense of warmth and vibrancy, encapsulating a timeless Parisian moment. The artwork is signed in the lower left corner by French artist, E. Thioulouze, a follower of Edouard Leon Cortes. The painting is in excellent condition with vibrant colors and dressed in a beautiful and elegant gilt frame. The Church of Sainte-Marie-Madeleine, or less formally, La Madeleine, is a Catholic parish church on Place de la Madeleine in the 8th arrondissement of Paris. It was planned by Louis XV as the focal point of the new Rue Royal, leading to the new Place Louis XV, the present Place de la Concorde. It was dedicated in 1764 by Louis XV, but work halted due to the French Revolution. Napoleon Bonaparte had it redesigned in the Neoclassical style to become a monument to the glory of his armies. After his downfall in 1814 construction as a church resumed, but it was not completed until 1842. The building is surrounded on all four sides by Corinthian columns. The interior is noted for its frescoes on the domed ceiling, and monumental sculptures by François Rude, Carlo Marochetti and other prominent 19th-century French artists. Edouard Léon Cortès (1882-1969) was a French painter of French and Spanish ancestry. He is known as "Le Poète Parisien de la Peinture" or "the Parisian Poet of Painting...

Discover the elegance of this mid-century French screen-printed by hand tapestry featuring the exquisite design of a medieval museum tapestry titled « Suzanne and the old men » The ...

An elegant celebration of Balinese culture and movement, this original painting by acclaimed Indonesian artist Ida Bagus Indra captures three graceful female figures immersed in a ti...

A pair of antique red painted terracotta neoclassical plaques by Danish 19th century artist, Peter Ipsen (stamped). Both plaques are of a similar scale and theme, depicting differen...

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile/azulejo The tile painted in cobalt blue over white in typical 18th century Portugal set ...

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

This antique Baroque period oil on canvas painting, is an authentic 1600s Italian School Allegory of Winter featuring putti and cherubs in a rich still life, and housed in its original golden frame, is a rare masterpiece preserved in prima tela (original first canvas). Sourced directly from an exclusive, historic private villa in Tuscany, this exceptional piece has been meticulously preserved by the same noble family for generations. Emerging on the art market for the very first time, this late 17th-century canvas represents a premier acquisition from The Tuscan Villa Collection, offering absolute authenticity and prestigious provenance. Design, Details & Attribution The composition is a sophisticated allegorical study executed with the dramatic chiaroscuro and emotional depth characteristic of the late Italian 1600s. Four masterfully proportioned putti (cherubs) gather around a small fire, their flesh tones illuminated by a theatrical play of light against a deep, crepuscular Italianate landscape. To the right, a monumental Baroque urn overflowing with a finely detailed floral still life anchors the scene, symbolizing the cycles of nature. The dense brushwork, rich earthy palette, and expressive anatomical rendering point directly to a highly skilled hand active in the Italian Baroque School circa 1680-1710. Stylistically, the artwork shares strong affinities with the classicizing Baroque circle of Carlo Cignani and central Italian genre painters of the era. The canvas remains housed in its spectacular coeval original frame, which retains its genuine gold leaf gilding and a magnificent, deep, age-earned patina. Styling & Placement With its grand visual presence and historical importance, this authentic 17th-century canvas serves as an elite statement piece for high-end interiors. The Classical Anchor: Perfectly suited above an early 18th-century walnut console table or credenza in a formal dining room, entryway, or library, where the golden frame and warm tones create an immediate focal point. The Curated Contrast: Highly effective when placed in a minimalist, contemporary space. The juxtaposition of a genuine Baroque masterpiece against clean, modern architecture offers profound historical depth. Collection Harmony: This painting communicates beautifully with fine period furniture, particularly Biedermeier walnut pieces or Italian marquetry chests...

Large-scale acrylic painting attributed to A. Robyns, working in the hard-edge geometric language of 1970s Pop Art. Flat color blocks in orange, magenta, mint green, violet, and soft...

A handsome and sophisticated mixed media on canvas by American artist John Rigsby. Found in a original state of preservation. His works are few and far between. The following biography was submitted by John David Rigsby, Jr., son of the artist. The author is Lisa Rigsby Peterson, daughter of the artist, and owner of the copyright of the biography. John David Rigsby was born on October 10, 1934, the seventh child of an Alabama Depression-era sharecropper's son. He and his family moved frequently, from one one-room structure to another, often with no running water, no plumbing, no heat but the stove. His father was killed in a car accident when Rigsby was just 9 years old. Life for the remaining eight family members proved tumultuous and difficult -- food wasn't plentiful, nor money. The family moved from place to place, following work -- Rigsby attended 30 different schools before graduating from high school. Despite living in poverty, Rigsby demonstrated academic and artistic aptitude at a young age. Two oil paintings on covers ripped off of old books that he painted when he was eight years old show the promise of an imaginative and gifted eye. Rigsby was drafted by the U.S. Army in 1953. As he later wrote, "When basic training at Fort Jackson, South Carolina, was over, I was told to go out and find a job. Jasper Johns was painting visual aids for the 28th Regimental Headquarters. He suggested the Band Training Unit." Rigsby played the clarinet in that unit, and after 2 years of service, he enrolled at the University of Alabama on the G.I. Bill to study art. After just two years, he left school and followed his mentor (and one of the greatest and longest-lasting influences on his art), Japanese artist and U of A art instructor Tatsu Heima, to New York City. Heima introduced him to Isamu Noguchi and suggested that Rigsby work as Noguchi's assistant. Instead, Rigsby chose a job as a guard at the Metropolitan Museum of Art, since "the notion of seeing all of that art appealed more to me than the boring task of studio assistant." The opportunity was a rich one for Rigsby. He had a chance to study the masters, and cited Rembrandt with his simplicity and elegance as another of the most important influences on his work. In the years between 1957 and 1963, when Rigsby eventually earned his BFA in sculpture, the artist traveled back and forth between New York and Tuscaloosa, alternating study with forays into the fertile New York art scene. Rigsby exhibited some of his early sculpture work in 1958 at a small New York gallery, which was also exhibiting the work of Willem and Elaine de Kooning and Theodore Stamos. Shortly thereafter, searching for an educational venue closer to New York City, Rigsby visited New Haven, Connecticut, and spent an afternoon speaking with Josef Albers at Yale. Albers agreed to accept Rigsby into the Yale program on the condition that he take freshman drawing all over again. A brilliant opportunity, but, in Rigsby's words, "When it was time to register, I was hitchhiking back to Alabama, looking for food and shelter." Rigsby had his first one-man show at the University of Alabama in 1959. A visiting critic from New York, J.F. Goosen, reviewed the show and wrote "here is a talent which produces art because that is the thing for a gifted person to do. In his effortless ease of conception and execution, he has already achieved a goal that eludes many artists for a lifetime." Finally, in 1963, Rigsby received his degree in sculpture, dissolved a short-lived marriage, visited his family, packed up his car and headed permanently for New York. That year, his work was included in a group show at the Delgado Museum in New Orleans - which led to a one-man exhibit at the Delgado in 1964. During 1964, Rigsby took drawing classes at Columbia University, and worked at the General Post Office at night. He met his future wife, Linda Palmieri, and married. In 1965, his daughter Lisa was born, followed in 1966 by the birth of his son, John David Jr. In 1966, Rigsby had a successful one-man show at the Pietrantonio Gallery in New York. Shortly thereafter, he and the family moved to Tunis, Tunisia at the suggestion of a colleague, who urged him to "come paint by the light of Klee." Rigsby worked for the United States Information Agency as a teacher, and he spent the next year and a half painting over ninety paintings inspired by the smells, light, and Phoenician and Roman art surrounding him. He also executed a number of character and landscape drawings, capturing the Tunisian way of life. During his time in Tunisia, Rigsby's work was shown there in two major exhibits. Upon the family's return to the U.S. in 1968, Rigsby once again exhibited at the Pietrantonio Gallery. Later that year, Rigsby enrolled in Southern Connecticut State College's Urban Studies program, earning a master's degree in 1970. During his time at SCSU, Rigsby worked as the city of Bridgeport's Curator of Exhibits, driving a mobile art gallery from schools to neighborhood fairs and housing projects. After completing his degree, Rigsby had an exhibit at the Telfair Museum in Savannah, Georgia. This exhibit caught the attention of a member of the search committee looking to hire an artist for a newly-developed program in neighboring South Carolina. In 1970, Rigsby was selected as the first Artist-in-Residence in the state of South Carolina for the National Endowment for the Arts Artists in Schools program. His work with the newly-integrated students at Beaufort (SC) High School over the term of his residency precluded substantial work on his own art. He did, however, set up a studio in downtown Beaufort, and was able to create a modest number of paintings, which were included in exhibits at the Columbia Museum in South Carolina in 1971 and Yale University in 1973. At the end of his residency in 1974, Rigsby was named the National Visual Arts Coordinator of the Artists in Schools program for the NEA, a post he held for two years. In this position, Rigsby traveled the country, reviewing grant applications, meeting with state leaders in government, education and the arts to promote program concepts and explore local opportunities. The message he repeated over and over again echoed that of one of the other major influences on Rigsby as an artist - Ruth Asawa Lanier, whose words taught him that all of the work that the artist does is the artist's work, not simply the paintings he creates. In his capacity as National Coordinator, as well as many times in the future, Rigsby stressed that artists function in the same way as any other person in society, and deserved the same respect and place for their work as did all other professions. After two years traveling the country, Rigsby was ready for a change, saying "for the first time in my adult life, there was not a body of paintings to show for the years put into my work." In 1976, a summer retreat to the mountain community of Central City, Colorado, led to a permanent relocation. Eventually settling in the small town of Evergreen, Rigsby followed his own advice about artists becoming actively involved in their communities, and he established the Evergreen Visual Arts Center. The Center provided working space for artists, classes for adults and children, and, most importantly, a place for Rigsby to create his own work. Buoyed by the opportunity to concentrate once again on his art, and inspired by his new surroundings, Rigsby entered an extremely prolific period in his career. In 1977, he organized a traveling exhibition of his paintings, which showed at the Kimball Arts Center in Utah, the Kennedy Center in Washington, D.C., and the Arvada Center in Colorado. 1978 brought more exhibits, notably in Aspen and Denver, as Rigsby's work continued. He took an extended trip to visit his mentor, Tatsu Heima, in Japan, where he climbed Mt. Fuji, followed by travels to Tehran, Delhi, and several European countries. He chronicled his impressions from his travels in a small collection of paintings upon his return to the U.S. - the beginning of a practice which would continue through the rest of his life. In 1979, Rigsby's marriage failed, and at the same time he lost the lease to his Evergreen studio to redevelopment plans. In response to the personal chaos around him, Rigsby began a series of what he called "hard-nosed process paintings," the watercolor paintings of dots which marked his work from this period. The paintings gained him an NEA Individual Artist grant in 1980, as well as a Yaddo fellowship in 1981. The polka dot paintings were followed by a series of cupcake-like images, again examining space and color. During the early 1980s, Rigsby lived in a suite of old dentists' offices in a rundown part of Denver, with a studio in an area that reminded him of the Bowery in New York. In 1984, Rigsby founded the Progreso Gallery in the building where he lived, using the space both to show his own work and also to mount shows of the work of many Colorado artists. The gallery also served as a focal point for Denver's local arts community, hosting weekly discussion groups and classes. In 1984, Rigsby traveled to the Baja Peninsula and then in 1985 to Yugoslavia. After each sojourn, Rigsby returned to create vibrant and explosive paintings based on his experiences, showing them at his Progreso gallery and another alternative gallery in Denver, the Edge Gallery. The economic recession of the mid-eighties hit the art market and Rigsby hard, however, and although he continued to create new works of art, major exhibitions were difficult to come by. In 1987, Rigsby decided to leave Denver and spent six months in Barcelona, Spain. It was an electrifying trip for him. Rigsby wrote of that time: "The streets alone are a visual feast, and the additions of museums from Saarinen, Picasso and Miro to 12th century icons produced artistic indigestion. My paintings are always about the way things look and feel. Barcelona was a time machine extending those sensory and emotional concerns back to the Middle Ages. I felt the need to reduce my work to essential elements of color, scale, drawing and format. The [resulting] color studies speak eloquently for themselves, and in doing so, redefine all of the work I've done in the past 35 years of painting." Rigsby completed over a hundred paintings while in Barcelona - color studies, street portraits of the characters he encountered on a daily basis, and a number of dark landscape paintings. He found time to run with the bulls in Pamplona, and began writing stories about his adventures that were later published. Upon his return to Denver in 1988, Rigsby continued to explore the alter egos of the color studies - he concentrated on a series of dark paintings, all prominently featuring back. He commented about these black paintings that he " decided it was time to explore the perception of the eye and physical space as defined by low -light conditions…I find these paintings elegant, joyous and light-filled, with no feeling of heaviness at all." In mid-1988, Rigsby moved permanently to Houston, Texas, where he would spend the last five years of his life. Once in Houston, Rigsby made a discovery that would serve as the inspiration and material for some of the last works of his career. In 1989, he discovered a salvage yard filled with scrap rubber, and he began working on black rubber sculptures, as well as paintings with rubber elements incorporated. He made strong connections in the Houston alternative arts scene, and became a regular contributor and art critic for a local weekly newspaper, The Public News. From 1989 through 1992, he exhibited his sculptures and paintings at Houston's Brent Gallery, Fountainhead Gallery, and Blaffer Gallery. He also produced an installation of his rubber sculptures on the roof of the Diverse Works Gallery in Houston. 1992 also marked Rigsby's return to Denver when he exhibited his sculptures at the Payton-Rule Gallery in Denver, leading to an Absolut Rigsby commission by Carillon Importers. The 1990s were a tremendous struggle for Rigsby, with financial crises compounded by physical trauma (he accidentally sawed off the top joint of the index finger of his left hand while working in his studio). Although his work was being shown, it wasn't selling, and the tremendous financial pressure he felt weighed heavily upon him. He spent an increasing proportion of his time going to flea markets and garage sales, rehabilitating and repairing the things he bought there, and then re-selling them simply to raise enough money to keep a roof over his head. He had little time to paint or sculpt, the things in life that had always, no matter what the circumstances, brought him joy. Rigsby's final works were a series of intricate paintings and drawings on used books that he purchased at the flea market. Most of these drawings, which he referred to as sculptural form drawings, were executed on page after page of science texts, music books, and a Korean bible and fill hundreds of pages. Additionally, Rigsby created an exquisite book he titled 28 de los Angeles, in which his twenty-eight simple and elegant drawings of angels resonated with the influence of Rembrandt he had so admired in his early days. In a sense, Rigsby's final works, art created on used books which were the only materials he could afford, brought his work and life full circle from his childhood days. Rigsby's life, though begun and ended in adversity, was nonetheless illuminated and enriched by the irresistible impulse he had to create art and beauty. John David Rigsby was killed in a one-car accident in Colorado in August, 1993. Biography from the Archives of askART Following is a review by Michael Paglia of the artist's July 2004 retrospective at the Denver Museum of Contemporary Art. It was submitted by John Rigsby, Jr., son of the artist. There's a magnificent retrospective at Denver's Museum of Contemporary Art devoted to the work of the late John David Rigsby, who was a major powerhouse in Colorado's art scene. "Dots, Blobs and Angels" surveys more than forty years' worth of the remarkable artist's paintings and sculptures. The year 1993 was strange, and by that I mean terrible. Many of the city's galleries closed because of bad economic times, and then the artists started dying. In a matter of a few months, Denver lost three significant artists: Rigsby, experimental photographer Wes Kennedy...

Bring rustic charm to your interior with this intimate and richly textured barnyard scene painted by Edmond van Coppenolle. Executed circa 1880, likely during the artist’s time in Fr...

With ribbon and bow carved and trailing bell flower over the barometer dial. The dial with grisaille painted maker inscriptions and dial pointers , within a circular giltwood frame. ...

A fabulous pair of 18th century doors from the Catalan region of Spain. Terrific painted finish and original hardware. Wonderful to build in or as wall mounted artwork.

Beautifully executed original oil on canvas by California artist Edward Holslag. Painted in 1915 with rich warm tones depicting a countryside landscape ...

A busy day on the river Thames in London. An original oil on canvas signed in the lower left. This an impressive work and measures 40.5" x 56.5" including the frame. It presents w...

A wonderful and good proportioned early 19th century oil painting of an idyllic English countryside scene by English painter Frederick Waters Watts. Measuring 43" x 56.5" including ...

A beautifully atmospheric vintage French oil painting capturing a quiet harbor scene, likely inspired by the southern coast of France. Executed with a confident, impressionistic hand...

This antique oil on canvas painting by Théodore Levigne (1848–1912) captures a tranquil riverside scene at sunrise, as a herder leads cattle and sheep along a winding path beneath go...

Gorgeously detailed and voluptuously painted, this superb depiction of pan playing his pipes in a paradise full of extravagant life -- including rabbits, squirrels, crested birds and...

During the late eighteenth century and into the Regency period, working creatively with paper - cutting and pin-pricking - was a favourite pastime and accomplishment for young ladies...

A Dutch delft Porceleyne Fles tile delft , Mill "De Roos" , after L. Senf, 1906 A delft Porceleyne Fles tile of 15 cm high, 21 cm wide in a wooden frame. Image represents the Mill "De Roos" and was painted by the delft porcelain painter J,W. Lispet, worked from 1887-1938, after Leon Senf and the tile dated 1906 Marked with the stamp of delft Porceleyne Fles and also with impressed stamp of Vennootschap onder Firma Joost Thooft & Labouchère delft 1903 - 1919, after 1919 it became N.V. Koninklijke Delftsch Aardewerkfabriek De Porceleyne Fles v/h Joost Thooft en Labouchere The measurements framed are 23 cm high, 29 cm wide and the depth is 3 cm The weight is 834 gram Leon Senf (1860-1940) Leon Senf took drawing lessons at the Polytechnic School in delft , where Jan Toorop was a fellow student. He also attended drawing evenings in Pulchri Studio where he met G.H. Breitner and Suze Robertson...

Organic modern pine tree branch sculpture, brown textured painted metal branches with brass needles. Signed C. Jeré and dated 1992 In very nice condition. Email me, it is possible i...

English Fairground Carousel panel We are proud to offer a wonderful example of an early 20th century English fairground panel. From a fairground carou...

Oil painting is composed of vibrant orange tones mingled with neutral brown and grey tones. Verso is titled and signed illegibly. Canvas measures approximate 20 inches squared in height and width. Signed original artwork, abstract Modernist art...

HENRY SCOTT R.S.A. British, 1911-2005 Fine Weather and a Fair Wind - Clipper Ship 'Red Cloud' Oil on canvas signed lower left titled on reverse of stretcher bars 24 5/8" H x 34 ...

Two original English watercolor/drawings circa 1854,1855, Ellen Dumbleton, from her sketchbook, Humble House and Summer house, Hall Grove. Beautifully pr...