Cassell's Poultry Book Lithographs, 1872. Attractively framed and matted with glass front. Prints of roosters and hens. "Vincent, Brooks, Day & Son, Lith.".  More »

Cassell's Poultry Book Lithographs, 1872. Attractively framed and matted with glass front. Prints of roosters and hens. "Vincent, Brooks, Day & Son, Lith.". Four prints available; for sale in pairs (first buyer chooses which ones to include in pair). 17"H, 15"W. Descriptions of each are included in detail photograph pages.   « Less

Equestrian painting of two horses and a colt in a field of poppies by British sporting artist Samuel Marriott (1932-1997). 20th century. Oil on canvas. Signed lower right.  More »

Equestrian painting of two horses and a colt in a field of poppies by British sporting artist Samuel Marriott (1932-1997). 20th century. Oil on canvas. Signed lower right. Excellent condition. Offered framed. Size: 19.75 inches x 23.75 inches.   « Less

Louis Feuchter (American, 1885-1957) portrait of a male lion. Oil on artist board. Signed lower left and dated 1923. Size: 11.75 inches by 13.75 inches. Feuchter executed a  More »

Louis Feuchter (American, 1885-1957) portrait of a male lion. Oil on artist board. Signed lower left and dated 1923. Size: 11.75 inches by 13.75 inches. Feuchter executed a number of works with African animals as the subjects which he painted at the Central Park Zoo in New York City. Excellent condition.   « Less

Signed and numbered in lower margin in pencil 108/250 Koren. Famed illustrator Edward Koren has worked for years with The New Yorker and is well known for his very  More »

Signed and numbered in lower margin in pencil 108/250 Koren. Famed illustrator Edward Koren has worked for years with The New Yorker and is well known for his very distinctive whimsical style of art. This limited edition print shows his take on birds (?) and animals. In frame it is 22x26''. Original frame, framed in Rhode Island. Status: For Sale Reference#: 141_19y Condition: fine Year: c1980   « Less

WONDERFUL VERY LARGE J.F HERRING COLORED ENGRAVING - RACING PLATE 3 - ''THE RUN IN''. THIS IS ONE IN A COLLECTION FROM FORES''S NATIONAL SPORTS. IT WAS ENGRAVED BY J. HARRIS  More »

WONDERFUL VERY LARGE J.F HERRING COLORED ENGRAVING - RACING PLATE 3 - ''THE RUN IN''. THIS IS ONE IN A COLLECTION FROM FORES''S NATIONAL SPORTS. IT WAS ENGRAVED BY J. HARRIS & C. QUENTERY AND PUBLISHED MAY 19TH 1857 BY MESSRS FORES AT THEIR SPORTING AND FINE PRINT REPOSITORY AND FRAME MANUFACTORY. CORNER SACKVILLE ST. THIS ENGRAVING WAS REFRAMED IN A MAPLE FRAME APPROXIMATELY 25 YEARS AGO. Status: No Longer Available Reference#: PFA_77X Condition: GOOD Year: CA 1860 Country: ENGLAND Height: 34 in. (86.36 cm) Width: 53.5 in. (135.89 cm) Title: WONDERFUL LARGE J.F.HERRING RACING ENGRAVING   « Less

A Set of Eight Chinese Watercolours of Birds on Paper, Circa 1850 The exotic birds are each painted amongst vegetation within ;later black and gilt japanned frames.  More »

A Set of Eight Chinese Watercolours of Birds on Paper, Circa 1850 The exotic birds are each painted amongst vegetation within ;later black and gilt japanned frames. Dimensions: 9 3/4 inches x 10 3/4 inches (25cm x 27.5cm)   « Less

A Set of Eight Chinese Watercolours of Birds on Pith Paper, Circa 1850 The watercolours of different birds are painted on pith paper (sometimes erroneously called rice  More »

A Set of Eight Chinese Watercolours of Birds on Pith Paper, Circa 1850 The watercolours of different birds are painted on pith paper (sometimes erroneously called rice paper). ;Each with a eglomise and decoupage frame. Dimensions: Frame: 13 3/4 inches high x 18 inches wide Sight: 5 3/4 inches x 9 inches.   « Less

A Pair of Chinese Watercolours of Birds on Pith Paper, Circa 1850 The pictures of birds are within a Chinese style frame in black, red and gold. Dimensions: 12 3/4  More »

A Pair of Chinese Watercolours of Birds on Pith Paper, Circa 1850 The pictures of birds are within a Chinese style frame in black, red and gold. Dimensions: 12 3/4 inches x 17 1/4 inches China Trade watercolours, although produced as early as the late 18th century, enjoyed the height of their popularity in the 1840’s and ‘50’s. ;Travels to China were difficult and expensive, and those from the West that could afford to make the journey did not wish to return empty-handed. Similar to the Grand Tour of the Continent, China was one of the ultimate elite destinations and anything of quality that was brought back immediately became status symbols. Watercolours, available in a variety of subjects and quite handsomely bound, were a popular choice not only due to their aesthetics, but also because of the ease of which they could be carried; large oil paintings and bulky ceramic objects did not lend themselves well to transport. Although a commodity produced for business, the watercolours were very well done, often by well-respected artists. Many of the artists did not work in watercolours often; one of the most respected artists at the time, Sunqua, painted primarily in oils. He worked in watercolor and gouache in the 1830’s- late 1840’s, producing albums and single paintings for export and trade during this time. He was an accomplished artist, whom Crossman says: “...would seem to belong to an Italian or European tradition of ship and port painting”, so good were his compositions and palettes. The first cultural exchanges appeared in the 16th century, when Italian Jesuit missionaries began filtering into China; as the literati widely rejected their Christian teachings, the Italians hurried to find another channel though which to forge bonds in the East. They began sending accomplished artists and teaching European painting techniques instead, forming a particular aesthetic that remained popular for centuries. The earliest China Trade pictures were produced on both Chinese and European paper; “Beginning in the 1780’s, the Chinese artists used western paper for most of their watercolours for the export trade… Supplying the Chinese with the raw materials for a product which was to be sold in the West was not unusual, since it occurred in many fields of manufacture. The other paper commonly used for watercolours and gouaches after 1800 or 1810, was pith, which has been mistakenly called ‘rice’ paper, both at that time and today…’ The so-called rice paper is made of the pith of the Aralia papyrifera. The pith is soaked before cutting; the workman then applies the blade to the cylinders of pith, and, turning them round dexterously, pares them from the circumference to the centre, making a rolled layer of equal thickness throughout’. The pith paper was a very fragile medium on which to work, and many of the watercolours on pith which have survived are cracked and broken.” The pictures were then mounted into albums with a silk ribbon, often blue but not always, and bound between boards covered with brightly coloured and patterned silk. Although it was extremely fragile, pith paper was widely favored due to its nature; the gouache used by the Chinese sat on the surface of the paper and produced a bright and sparkling effect. Very fine detail could be achieved whilst maintaining clean, vibrant colours. The material did not lend itself to the flat wash of colour favoured for European watercolours. Gouache, from the Italian guazzo, "water paint, splash") is a type of paint consisting of pigment suspended in water. Gouache differs from watercolour in that the particles are larger, the ratio of pigment to water is much higher and there is the presence of an inert white pigment, such as chalk. This makes gouache heavier and more opaque, with greater reflective qualities. Popular subjects included Chinese costumes, birds- often with richly painted backgrounds, fish, insects and junks and sampans. The shimmering paint served to heighten the exotic nature of the works, and the charming naiveté added to the perceived indigenous nature of the paintings. The art was made “…for strangers, strangers with an entirely different set of aesthetic presumptions and expectations, stands outside the major currents of art produced for a Chinese audience. It occupies a space which is neither wholly Chinese nor wholly European, but which can, by the nature of the compromises it makes, tell us a lot about how one culture saw the other in the age before photography. It did not exist separately from, but rather as an integral part of, the relationship between China and the West…” Although produced in the mid-19th century, the works remain as naïve, exotic and desirable now as they did when seen for the first time.   « Less

A Set of Four 17th Century Engravings of Horses and Horsemen, George Simon de Winters, Published Nuremberg, Circa 1673. The hand coloured copper plate engravings are  More »

A Set of Four 17th Century Engravings of Horses and Horsemen, George Simon de Winters, Published Nuremberg, Circa 1673. The hand coloured copper plate engravings are from George Simon de Winters authoritative work Bellerophon, sive eques peritus... on the subject of equestrian training. ;They predate similar works by Newcastle, Cavendish and Eisenburg. ;The engravings are considered technically superior to the later works, many of which copied De Winters'' plates. Theses engraving are now in a gilded wood frame with French mounts and include plates 5, 22 and 56, Dimensions: 21 inches high x 24 3/4 inches wide Provenance: with Trowbridge Gallery and then private Rhode Island Collection. Reference: (http://www.georgeglazer.com/prints/sporting/horses/winterdress.html) Georg Simon Winter von Adlersflügel was a German horseman, veterinarian and director of many stud farms. ;He wrote a number of works in German related to the care and training of horses including Bellerophon, New Treatise on Equestrian Topics (1672), which was translated into Latin, French and Italian and illustrated training techniques as well as the softer, more humane bits (mouthpieces) for the horses that he advocated. ;He also published a book on veterinary medicine in 1674. Peter Paul Tröschel was an etcher born in Nuremberg, Germany. ;The son of engraver Hans Tröschel, he engraved portraits and views and worked for publishers. ;He signed his works P.T. Bénézit, E. Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs. ;France: Librairie Gründ, 1966. ;Vol. 8, p. 387. Lipperheide 2913; Brunet V, 465 Monteilhet, André. Thomas Ritter, trans. ;“Winter von Adlersflügel.” ;History of German and Austro-Hungarian Equestrian Art. ;18 September 2003. ;http://www.classicaldressage.com/articles/history.html#a ;(9 September 2004)   « Less

A Set of Four Seligmann Engravings of Waterbirds after Edwards, Circa 1755-65 These beautiful bird engraving with original hand colouring are within a hand-made decoupage  More »

A Set of Four Seligmann Engravings of Waterbirds after Edwards, Circa 1755-65 These beautiful bird engraving with original hand colouring are within a hand-made decoupage frame with a light aqua blue ground with decoupage sea-shell panels. Dimensions: 17 1/2 inches high x 14 1/2 inches In 1749, German publisher Johann Michael Seligmann began to issue a nine-volume compilation of the work of renowned British naturalists Mark Catesby (1683-1749) and George Edwards (1694-1773). Over the next thirty years, the gradual release of these eagerly anticipated volumes brought vivid, charming images of New World birds to continental European audiences and made Seligmann a venerated name in natural history circles.(http://www.davidsongalleries.com/artists/catesby/catesby.html) ;Edwards was, like Catesby, one of the pioneers of natural history documentation and is known as the "Father of British Ornithology." His marvelous A Natural History of Birds (London: 1743-51) was produced almost single-handedly: Edwards not only wrote the text for the book but also made the drawings, etched the plates and hand colored the prints to be bound in each volume. Seligmann began issuing his ambitious series just a few years after Edwards and Catesby published their works. The text was translated into German, and Seligmann produced all new plates based on the images of the two Englishmen. In bringing these masterworks to the continental audience, Seligmann has earned himself a place in natural history circles, and his charming prints, reflecting well on their sources, stand as another respected source for 18th-century natural history documentation. (https://www.theantiquarium.com/catalog/author/seligmann.htm)   « Less