a gorgeous girl portrait is playing guitar, in fabulous condition, signed by Artist H. Mundy, painted on panel with beautiful brush . Oil On Board, incredible colors,  More »

a gorgeous girl portrait is playing guitar, in fabulous condition, signed by Artist H. Mundy, painted on panel with beautiful brush . Oil On Board, incredible colors, measuring 7" x 5", situated in 1.5" gold plated ornate, 10" x 8.5" wood frame. checkout from http://www.designeruniquefinds.com   « Less

This poster came out of an estate sale along with other vintage posters. There is some bleed thru on the back but all original. No tears.

This poster came out of an estate sale along with other vintage posters. There is some bleed thru on the back but all original. No tears.   « Less

Stefano della Bella (Italian 1610-1664)- ''Zwei Satyrn und ein Faunesse Schen Satyrn Beim Tanzen Zu'' (De Vesme 719) etching, old glue stain verso.5.5" (140mm) diameter  More »

Stefano della Bella (Italian 1610-1664)- ''Zwei Satyrn und ein Faunesse Schen Satyrn Beim Tanzen Zu'' (De Vesme 719) etching, old glue stain verso.5.5" (140mm) diameter tipped onto a support sheet. Take note: Two of this impression recently sold at: BELLA,S.DELLA Zwei Satyrn und ein Faunesse Schen Satyrn Beim Tanzen Zu 03/20/10 295 Sold DV719 15 BELLA,S.DELLA Zwei Satyrn und eine Faunesse sehen Satyrn beim Tanzen zu 06/10/93 197 Sold DV719;M719 28 Bella, Stefano della, 1610-64, Italian engraver, b. Florence. First copying the manner of Jacques Callot, his style changed somewhat when he traveled to Rome, Paris, and the Netherlands. He was adept at landscapes, battle pieces, and animal portraits, although most of his numerous works were designs for festivities and ballets. French theatrical design was considerably influenced by his light, sophisticated style. His drawings are well represented in the Royal Library at Windsor.   « Less

Etched by the artist pulled from the copper plate in late 18- early 19 Century impression on heavier weight laid paper with narrow margins. Etched image measures 5.5 by 9.75  More »

Etched by the artist pulled from the copper plate in late 18- early 19 Century impression on heavier weight laid paper with narrow margins. Etched image measures 5.5 by 9.75 inches. This is in good condition. ne of this image sold recemtly on E bay at $499.99 http://www.befr.ebay.be/itm/Reinier-Nooms-Amsterdam-Etching-Called-Zeeman-/180556030197 Reinier Nooms (Amsterdam, c. 1623 — Amsterdam, c. 1667), also known as Zeeman(Dutch for “sailor”), was a maritime painter known for his highly detailed paintings and etchings of ships. Nooms started painting and drawing in his later years, following a rough, drunken life as a sailor. It is not known how he acquired his skill as an artist. His knowledge of ships is evident from his work: ships and foreign locations are depicted with high accuracy and in great detail, and served as an example to other artists of how to depict ships. A widely traveled artist, Nooms visited Paris, Venice and possibly Berlin, and also journeyed along the coast of North Africa. A favorite subject of his paintings were the Dutch victories in the Anglo-Dutch Wars. For instance, he painted the Amalia, the flagship of admiral Maarten Tromp, before the Battle of the Downs in 1639. This painting now hangs in the National Maritime Museum in Greenwich, UK. His painting of the Battle of Leghorn in 1653 is in the collection of the Rijksmuseum in Amsterdam.   « Less

Felix Buhot "Matinée d'Hiver au Quai de l'Hôtel-Dieu" Original Etching What a great impression, original etching with drypoint and roulette. Catalogue  More »

Felix Buhot "Matinée d'Hiver au Quai de l'Hôtel-Dieu" Original Etching What a great impression, original etching with drypoint and roulette. Catalogue reference Bourcard/Goodfriend 123. This impression on cream laid paper is from the edition for "French Etchers", published in New York in 1884. Plate size: 9 1/4 x 12 1/4 inches (237 x 312mm). Signed in the plate (not by hand). Condition: GOOD , uneven margin as many were and with a very light crease in the paper, NOT NOTICABLE and a couple of defect in the out edge of the paper of no harm when professionally matted. Félix Hilaire Buhot (July 9, 1847 - April 26, 1898) was a French painter and etcher-print-maker .Among the most original prints made in France during the last quarter of the nineteenth century are those by Félix Buhot. Along with artists like Charles Jacque and Felix Bracquemond, he is credited with reviving seventeenth century etching techniques in late nineteenth century art. However, he was highly experimental and regularly employed technical variables and regularly combined multiple processes to produce a single print. He used traditional techniques of etching, drypoint, and aquatint along with modern methods such as photomechanical reproduction. Buhot’s most notable contribution to the history of printmaking is a device he termed "marges symphoniques" (symphonic margins). Inspired by the marginal decorations of medieval manuscripts and eighteenth-century French book illustrations, Buhot developed two types of margins, etching the first on the same plate as the central subject and printing the second, called a “false margin,” from a separate plate. In his many prints of city views and seascapes, Buhot was intent on creating a specific atmosphere, especially the effects of weather such as rain, snow, mist, and fog. He turned to his immediate neighborhood in and around the boulevard de Clichy in Montmartre, Paris, for inspiration for his prints of everyday city life. Buhot delighted in portraying the varied street life of the vibrant capital city not only in different seasons (Winter in Paris, 1879) but also in moments of public display, from a festive holiday celebration (National Holiday on the Boulevard de Clichy, 1878) to a somber death observance (Funeral Procession on the Boulevard de Clichy, 1887). His city views also include London scenes (Westminster Palace and Westminster Bridge, both of 1884). And Buhot's love for the sea is evidenced in the many prints exploring its ever-changing atmospheric conditions and moods. Buhot's boat trips to England inspired two of his most characteristic prints, A Pier in England and Landing in England, both from 1879. With his experimental printmaking techniques, Buhot became one of the best-known, admired, and collected printmakers of his day. He achieved success for his prints at the annual Salons between 1875 and 1886, and a number of his works were published in leading periodicals and books. He also found critical acclaim and support for his prints in the United States, especially after his first one-man exhibition organized by the New York print dealer Frederick Keppel in 1888.   « Less

Rare Hendrik Goltzius "Tempore Fi numeran prompte stipendia" Etched-Engraving Hendrik Goltzius “Tempore Fi numeran prompte stipendia certo Fmpauidos  More »

Rare Hendrik Goltzius "Tempore Fi numeran prompte stipendia" Etched-Engraving Hendrik Goltzius “Tempore Fi numeran prompte stipendia certo Fmpauidos animos Martia turba capit” Plate 10 Circa 155-1563, Engraving. This is an original antique print of the Shepherd and his flock, Concieved by Goltzius (Invent) and Jacob de Gheyn II (sculp and Publisher ) and STUDENT of Goltizius. One of two engraving works from a series of twelve plates, "Offiziere und Soldaten", after Goltzius, 1587. This antique copper engraving was printed in 17th Century and is good condition , trimmed to the borderline and on early laid paper condition. The engraved work measures 6 by 12.25 inches, plus lettering at the foot of the sheet. The framed size 15 by 17.50 inches. Retail at $ 2,000-3,500.00 each. Bibliographic reference New Hollstein 185.I (The De Gheyn family) Bartsch III.121.10 Prov: Craddock and Barnard, London Palm Beach Collection, FL An impression can be seen at: http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1537891&partid=1&output=People%2f!!%2fOR%2f!!%2f123723%2f!%2f123723-2-60%2f!%2fPrint+made+by+Jacob+de+Gheyn+II%2f!%2f%2f!!%2f%2f!!!%2f&orig=%2fresearch%2fsearch_the_collection_database%2fadvanced_search.aspx¤tPage=8&numpages=10 Hendrik Goltzius (January or February 1558 — January 1, 1617, Haarlem), was a Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early Baroque period, or Northern Mannerism, noted for his sophisticated technique and the “exuberance” of his compositions. According to A. Hyatt Mayor, Goltzius “was the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copy”. In middle age he also began to produce paintings. Hollstein credits 388 prints to him, with a further 574 by other printmakers after his designs. In his command of the burin Goltzius is said to rival that of Dürer‘s. He made engravings ofBartholomeus Spranger‘s paintings, thus increasing the fame of the latter - and his own. Goltzius began painting at the age of forty-two; some of his paintings can be found in Vienna. He also executed a few chiaroscuro woodcuts. He was the stepfather of engraver Jacob Matham. The Engraver Jacob de Gheyn II (also Jacques de Gheyn II) (c. 1565, Antwerp – March 29, 1629, The Hague) was a Dutch painter and engraver, whose work shows the transition from Northern Mannerism to Dutch realism over the course of his career. De Gheyn received his first training from his father, Jacob de Gheyn I, a glass painter, engraver, and draftsman. In 1585, he moved to Haarlem, and studied under Hendrik Goltzius for the next five years. He moved again to Leiden in the middle of the 1590s. His work attracted the attention of wealthy sponsors, and his first commission was for an engraving of the Siege of Geertruidenberg from Maurice of Nassau, Prince of Orange. This event from March 27th to June 24th 1593, had been more of a demonstration of power by Prince Maurits, rather than an actual war, and had even attracted tourists. As a publicity stunt, the siege and its subsequent engraving were successful in propagating an image of Prince Maurits as an able general.   « Less

Hendrik Goltzius “Tempore Fi numeran prompte stipendia certo Fmpauidos animos Martia turba capit” Plate 2 Circa 155-1563 , Engraving. This is an original antique  More »

Hendrik Goltzius “Tempore Fi numeran prompte stipendia certo Fmpauidos animos Martia turba capit” Plate 2 Circa 155-1563 , Engraving. This is an original antique print of the Shepherd and his flock, Concieved by Goltzius (Invent) and Jacob de Gheyn II (sculp and Publisher ) . and STUDENT of Goltizius. One of two engraving works from a series of twelve plates, "Offiziere und Soldaten", after Goltzius, 1587. This antique copper engraving was printed in 17th Century and is good condition , trimmed to the borderline and on early laid paper condition. The engraved work measures 6 by 12.25 inches, plus lettering at the foot of the sheet. The framed size 15 by 17.50 inches. Retail at $ 2,000-3,500.00 each. Bibliographic reference New Hollstein 177.I (The De Gheyn family) Bartsch III.121.2 Prov: Craddock and Barnard, London Palm Beach Collection, FL An impression can be seen at: http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1537779&partid=1&output=People%2f!!%2fOR%2f!!%2f123723%2f!%2f123723-2-60%2f!%2fPrint+made+by+Jacob+de+Gheyn+II%2f!%2f%2f!!%2f%2f!!!%2f&orig=%2fresearch%2fsearch_the_collection_database%2fadvanced_search.aspx¤tPage=8&numpages=10 Hendrik Goltzius (January or February 1558 — January 1, 1617, Haarlem), was a Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early Baroque period, or Northern Mannerism, noted for his sophisticated technique and the “exuberance” of his compositions. According to A. Hyatt Mayor, Goltzius “was the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copy”. In middle age he also began to produce paintings. Hollstein credits 388 prints to him, with a further 574 by other printmakers after his designs. In his command of the burin Goltzius is said to rival that of Dürer‘s. He made engravings ofBartholomeus Spranger‘s paintings, thus increasing the fame of the latter - and his own. Goltzius began painting at the age of forty-two; some of his paintings can be found in Vienna. He also executed a few chiaroscuro woodcuts. He was the stepfather of engraver Jacob Matham. The Engraver Jacob de Gheyn II (also Jacques de Gheyn II) (c. 1565, Antwerp – March 29, 1629, The Hague) was a Dutch painter and engraver, whose work shows the transition from Northern Mannerism to Dutch realism over the course of his career. De Gheyn received his first training from his father, Jacob de Gheyn I, a glass painter, engraver, and draftsman. In 1585, he moved to Haarlem, and studied under Hendrik Goltzius for the next five years. He moved again to Leiden in the middle of the 1590s. His work attracted the attention of wealthy sponsors, and his first commission was for an engraving of the Siege of Geertruidenberg from Maurice of Nassau, Prince of Orange. This event from March 27th to June 24th 1593, had been more of a demonstration of power by Prince Maurits, rather than an actual war, and had even attracted tourists. As a publicity stunt, the siege and its subsequent engraving were successful in propagating an image of Prince Maurits as an able general.   « Less

Francisco Goya "Aveugle Enlevé sur les Cornes d'un Taureau" Original Etching Francisco Goya "Aveugle Enlevé sur les Cornes d'un Taureau" (Blind Man Tossed on the  More »

Francisco Goya "Aveugle Enlevé sur les Cornes d'un Taureau" Original Etching Francisco Goya "Aveugle Enlevé sur les Cornes d'un Taureau" (Blind Man Tossed on the Horns of a Bull); Spanish title: Dios se lo Pague (May God Repay You); Medium: original etching, aquatint and drypoint. This impression on laid paper was printed in Paris in 1867 by Delâtre for Gazette des Beaux-Arts. Catalogue references: Delteil 24ii; Harris 25. Plate size: 6 5/8 x 8 1/2 inches. Professionally framed, size 18.50 by 17.50 inches . Good condition not examined outside of the professional framing. Francisco José de Goya y Lucientes (March 30, 1746 — April 16, 1828) was an Aragonese Spanish painter and printmaker. Goya was a court painter to the Spanish Crown and a chronicler of history. He has been regarded both as the last of the Old Masters and as the first of the moderns. The subversive and subjective element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet and Picasso. The engraved images that make up Goya’s most important series of prints, Los Caprichos (1799), have long been recognized as one of the supreme monuments of European art. Goya, royal painter to the kings of Spain during the late eighteenth-early nineteenth centuries, eventually died in exile, both of his major print series having been “donated” to the crown to protect him from the Inquisition. A believer in the potential power of reason, his works show what happens when reason is trampled underfoot by individual human follies and corrupt social customs. In these works Goya looks at his country and memorializes it as a monument to desperation, folly, arrogance, incompetence, and the need that some of his subjects have to try to control the uncontrollable.   « Less

Roman Charity (or Carità Romana) is the exemplary story of a daughter, Pero, who secretly breastfeeds her father, Cimon, after he is incarcerated and sentenced to death by  More »

Roman Charity (or Carità Romana) is the exemplary story of a daughter, Pero, who secretly breastfeeds her father, Cimon, after he is incarcerated and sentenced to death by starvation. She is found out by a jailer, but her act of selflessness impresses officials and wins her father's release. Probably early 19th century in the baroque style .no visible repairs .... Measures sight : 33.5 wide , 33.25 tall   « Less

Large roundel of a landscape with castle ruins and genre setting . French or Northern Italian 41"diameter frame outside

Large roundel of a landscape with castle ruins and genre setting . French or Northern Italian 41"diameter frame outside   « Less