Impressionist Paris Scene, oil painting on canvas, Boulevard along the River Seine, Notredame Cathedral. Hand written provenance on wood frame, is attributed, noted: "this  More »

Impressionist Paris Scene, oil painting on canvas, Boulevard along the River Seine, Notredame Cathedral. Hand written provenance on wood frame, is attributed, noted: "this is work of Italian Artist De Vitty, fallen in love with Paris". 24" height, 48" width. original period wood frame in gilt, aged, excellent. please email nazaninkatouzian@gmail.com or visit www.designeruniquefinds.com for estimated shipping rate quote.   « Less

Portrait Lithograph of The son of J.G. Lambton Esq. by Sir Thomas Lawrence. inscribed reverse from collection of the Earl of Durham. 32" h., 25.5" w. Sir Thomas Lawrence  More »

Portrait Lithograph of The son of J.G. Lambton Esq. by Sir Thomas Lawrence. inscribed reverse from collection of the Earl of Durham. 32" h., 25.5" w. Sir Thomas Lawrence (1769-1830),a notable English painter specialty in portraits, born in Bristol. excellent aged, original 3.5" gilt wood floral ornate frame.   « Less

Still life gorgeous Impressionist bold golden flowers, incredible brush strokes! unique yellow paint signature. 19" h., 16" w. Wood frame, in gilt, 2.5". Ivory canvas mat,  More »

Still life gorgeous Impressionist bold golden flowers, incredible brush strokes! unique yellow paint signature. 19" h., 16" w. Wood frame, in gilt, 2.5". Ivory canvas mat, golden trim. excellent aged condition.   « Less

19 Century Tibetan Thangka "Compassion Buddha" 4 Arms with Minitures of Buddha' life around the perimeter. Canvas. Dimensions: 89"x62" Beautiful, lustrous colors with  More »

19 Century Tibetan Thangka "Compassion Buddha" 4 Arms with Minitures of Buddha' life around the perimeter. Canvas. Dimensions: 89"x62" Beautiful, lustrous colors with gold. Framed in Silk. I bought it in Tibet, Lhasa.   « Less

Malaysian artist Eng Tay Woman with vase limited edition intaglio print number 9 out of 150. Signed and dated 1986 lower right. Original hand made wooden frame with linen  More »

Malaysian artist Eng Tay Woman with vase limited edition intaglio print number 9 out of 150. Signed and dated 1986 lower right. Original hand made wooden frame with linen mat. The frame measures 24 x 21 inches and the print measures 17 x 20 inches. Eng Tay was born and raised in Kedah, Malaysia. In 1968 he moved to New York City to study at The Art Students League, followed by graduation from The School Of Visual Arts in 1972 as a graphic designer. He worked in the graphic arts field until 1978, when he undertook several painting trips though out South America and Indonesia until 1980. To see the extensive Tay biography go to http://www.tapir.com/artistbiography.html Shipping extra. Connecticut residents and buyers picking up in Connecticut add 6.35% state sales tax. Buyers outside the USA are responsible for any taxes,tariffs or customs that might apply. *** If you wish to see examples of similar items we have sold and/or appraised please go to our affiliate site www.OneofaKindAntiques.com and click the Archives / Homepage logo ***   « Less

Claude Lorraine (1600 - 1682) Best loved work, "Le Soleil Levant" also known as "Harbour scene with rising sun." 1634. Recorded in the Catalogue Mannocci 15viii (of viii),  More »

Claude Lorraine (1600 - 1682) Best loved work, "Le Soleil Levant" also known as "Harbour scene with rising sun." 1634. Recorded in the Catalogue Mannocci 15viii (of viii), Original Etching on trimmed early laid paper .The work measure 132 x 199 mm OR (5 3/16 x 7 13/16") trimmed along platemark. A fine impression, in very good condition except for a pale discoloration left and lower side of the composition. Claude started working on this plate he had perfected his mastery of etching. This technical perfection, combined with one of his favorite subjets, the harbour-scene, resulted in this masterpiece, regarded by many people over the last three hundred years as one of his finest plates". Nice 18 later 18 Century impression. A impression of this can be seen at: http://amica.davidrumsey.com/luna/servlet/detail/AMICO~1~1~54412~18341:Le-Soleil-Levant--The-rising-sun-?sort=INITIALSORT_CRN%2COCS%2CAMICOID&qvq=w4s:/who/Lorrain,+Claude/what/Prints/where/French;sort:INITIALSORT_CRN%2COCS%2CAMICOID;lc:AMICO~1~1&mi=1&trs=10 E-bayers take Note: A impression of this state is offered by a well respected Print dealer at $ 2000.00 Claude Lorrain, traditionally just Claude in English (also Claude Gellée, his real name, or in French Claude Gellée, dit le Lorrain) (c. 1600 – 21 or 23 November 1682) was an artist of the Baroque era who was active in Italy, and is admired for his achievements in landscape painting and etching. Claude was born in 1604 or 1605 into poverty in the town of Chamagne, Vosges in Lorraine – then the Duchy of Lorraine, an independent state until 1766 and now in northeast France. He was one of five children. His actual name was Claude Gellée, but he is better known by the province in which he was born. Orphaned by age of twelve, he went to live at Freiburg with an elder brother, Jean Gellée, a woodcarver. He afterwards went to Rome to seek a livelihood and then to Naples, where he apprenticed for two years, from 1619 to 1621, under Goffredo (Gottfried) Wals. He returned to Rome in April 1625 and was apprenticed to Agostino Tassi. He got into a fight with Leonaert Bramer. He apparently was able to tour in Italy, France and Germany, including his native Lorraine, suffering numerous misadventures. Claude Deruet, painter to the duke of Lorraine, kept him as assistant for a year; and at Nancy he painted architectural subjects on the ceiling of the Carmelite church.   « Less

What a great find... Rare John Singer Sargent "Study of a Male Seated" Lithograph , unsigned work on Lithograher's Paper & smooth Vellum Finish , measuring 11•8/16 x  More »

What a great find... Rare John Singer Sargent "Study of a Male Seated" Lithograph , unsigned work on Lithograher's Paper & smooth Vellum Finish , measuring 11•8/16 x 8•8/16in sheet . Framed in a "button back framed measuring 14 by 18 inches Recorded in Detail catalogue of J. S. Sargents work , D 1. (only state , first executed in 1895 and published in London, 1915. This is in good condition ( little discoloration on the outer edge of the sheet) and a great study of a semi nude male. Inscribed J.S. SARGENT ; A STUDY and Drawn on Paper below the image. Here are TWO example of the sales of this Image: SARGENT,JOHN S., Study of a young Man, 05/15/97, 7,600, Sold, D1 SARGENT,JOHN S., Study of a young Man, 05/03/96, 5,200, Sold, D1 Sold as is with no return, consigned from a palm beach collection ask all questions before purchase. Study of a young Man - Lithograph - 1895 - Edition C25 - D1 - 293 x 218mm - 11•8/16 x 8•8/16in sheet - Large Margins - Mat Stain - Soiling - Crease overall - Discoloration - Sotheby's, New York - 5/3/1996 - #293 - (illus.) - [$8000] John Singer Sargent (January 12, 1856 – April 14, 1925) was an American artist, considered the "leading portrait painter, watercolorist , and print maker (Lithography) of his generation" for his evocations of Edwardian era luxury During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings and a very few Lithographs . His oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. An American expatriate who was trained in Paris prior to moving to London, Sargent enjoyed international acclaim as a portrait painter, though not without controversy and some critical reservation; an early submission to the Paris Salon, his Portrait of Madame X was intended to consolidate his position as a society painter, but it resulted in scandal instead. From the beginning his work was characterized by remarkable technical facility, particularly in his ability to draw with a brush, which in later years inspired admiration as well as criticism for a supposed superficiality. His commissioned works were consistent with the Grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. Before Sargent's birth, his father FitzWilliam (b. 1820 Gloucester, Massachusetts) was an eye surgeon at the Wills Eye Hospital in Philadelphia 1844-1854. After John's older sister died at the age of two, his mother Mary (née Singer) suffered a breakdown, and the couple decided to go abroad to recover. They remained nomadic expatriates for the rest of their lives.Though based in Paris, Sargent's parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. While Mary was pregnant, they stopped in Florence, Italy because of a cholera epidemic. Sargent was born there in 1856. A year later, his sister Mary was born. After her birth, FitzWilliam reluctantly resigned his post in Philadelphia and accepted his wife's entreaties to remain abroad. They lived modestly on a small inheritance and savings, living a quiet life with their children. They generally avoided society and other Americans except for friends in the art world. Four more children were born abroad, of whom only two lived past childhood. Though his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, more interested in outdoor activities than his studies. As his father wrote home, "He is quite a close observer of animated nature." His mother was quite convinced that traveling around Europe, and visiting museums and churches, would give young Sargent a satisfactory education. Several attempts to have him formally schooled failed, owing mostly to their itinerant life. Sargent's mother was a fine amateur artist and his father was a skilled medical illustrator. Early on, she gave him sketchbooks and encouraged drawing excursions. Young Sargent worked with care on his drawings, and he enthusiastically copied images from The Illustrated London News of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his son's interest in ships and the sea might lead him toward a naval career. At thirteen, his mother reported that John "sketches quite nicely, & has a remarkably quick and correct eye. If we could afford to give him really good lessons, he would soon be quite a little artist." At age thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Though his education was far from complete, Sargent grew up to be a highly literate and cosmopolitan young man, accomplished in art, music, and literature. He was fluent in French, Italian, and German. At seventeen, Sargent was described as "willful, curious, determined and strong" (after his mother) yet shy, generous, and modest (after his father). He was well-acquainted with many of the great masters from first hand observation, as he wrote in 1874, "I have learned in Venice to admire Tintoretto immensely and to consider him perhaps second only to Michelangelo and Titian.   « Less

Here we have Eugene Isabey "Environs de Dieppe" Lithograph. Lithograph measuring 5.5 by 7.25 inches unsigned with original tissue sheet with title and artist name. The sheet  More »

Here we have Eugene Isabey "Environs de Dieppe" Lithograph. Lithograph measuring 5.5 by 7.25 inches unsigned with original tissue sheet with title and artist name. The sheet (work) measures 8.25 by 11.75 inches. This is in good condition. Eugène Louis Gabriel Isabey (22 July 1803 – 27 April 1886) was a French painter, draftsman, and printmaker.Born in Paris, the son of Jean-Baptiste Isabey, a painter as well, Eugène Isabey studied and worked at the Louvre Museum. Early in his career his paintings consisted of mostly watercolor landscapes. In 1820, he travelled to Normandy and Britain painting land and seascapes. Isabey journeyed with the French Expedition to Algiers in 1830 as an illustrator. The expedition's paintings sold poorly on the market and encouraged him to switch to narrative and historical painting. He was later selected to become one of Louis-Philippe’s court painters.   « Less

"What a great find", Rare James Whistler "Firelight; Jos. Pennell" Lithograph, signed work on Lithograher's Paper & smooth Vellum Finish , measuring 11•8/16 x  More »

"What a great find", Rare James Whistler "Firelight; Jos. Pennell" Lithograph, signed work on Lithograher's Paper & smooth Vellum Finish , measuring 11•8/16 x 8•8/16in sheet. (Only state, published in London, 1915.) This is in good condition with little discoloration on the outer edge of the sheet. A great study of a semi nude male. James Abbott McNeill Whistler (July 14, 1834 — July 17, 1903) was an American-born, British-based painter, lithographer and etcher. Averse to sentimentality in painting, he was a leading proponent of the credo “art for art’s sake”. He took to signing his paintings with a stylized butterfly, possessing a long stinger for a tail. The symbol was apt, for Whistler’s art was characterized by a subtle delicacy, in contrast to his combative public persona. Finding a parallel between painting and music, Whistler titled many of his works “harmonies” and “arrangements”.   « Less

Here is a charming Daumier "Le Public Du Salon" Lithograph, image signed on wove paper (no text on verso). Titled and signed in the image. The work measure 5.75 by 6.75  More »

Here is a charming Daumier "Le Public Du Salon" Lithograph, image signed on wove paper (no text on verso). Titled and signed in the image. The work measure 5.75 by 6.75 inched on a sheet measuring 8.25 by 11.75 inches in good condition. Honoré Daumier (February 26, 1808 – February 10, 1879) was a French printmaker, caricaturist, painter, and sculptor, whose many works offer commentary on social and political life in France in the 19th century. A prolific draftsman who produced over 500 paintings, 4000 lithographs, 1000 wood engravings, 1000 drawings, 100 sculptures he was perhaps best known for his caricatures of political figures and satires on the behavior of his countrymen, although posthumously the value of his painting has also been recognized. Daumier was born in Marseille to Jean-Baptiste Louis Daumier and Cécile Catherine Philippe. His father Jean-Baptiste was a glazier whose literary aspirations led him to move to Paris in 1814, seeking to be published as a poet In 1816 the young Daumier and his mother followed Jean-Baptiste to Paris. Daumier showed in his youth an irresistible inclination towards the artistic profession, which his father vainly tried to check by placing him first with a huissier, for whom he was employed as an errand boy, and later, with a bookseller. In 1822 he became protégé to Alexandre Lenoir, a friend of Daumier's father who was an artist and archaeologist. The following year Daumier entered the Académie Suisse. He also worked for a lithographer and publisher named Belliard, and made his first attempts at lithography. Having mastered the techniques of lithography, Daumier began his artistic career by producing plates for music publishers, and illustrations for advertisements. This was followed by anonymous work for publishers, in which he emulated the style of Charlet and displayed considerable enthusiasm for the Napoleonic legend. Daumier was almost blind by 1877 During the reign of Louis Philippe, Charles Philipon launched the comic journal, La Caricature, Daumier joined its staff, which included such powerful artists as Devéria, Raffet and Grandville and started upon his pictorial campaign of satire, targeting the foibles of the bourgeoisie, the corruption of the law and the incompetence of a blundering government. His caricature of the king as Gargantua led to Daumier's imprisonment for six months at Ste Pelagie in 1832. Soon after, the publication of La Caricature was discontinued, but Philipon provided a new field for Daumier's activity when he founded the Le Charivari. Daumier produced his social caricatures for Le Charivari, in which he held bourgeois society up to ridicule in the figure of Robert Macaire, hero of a popular melodrama. In another series, L'histoire ancienne, he took aim at the constraining pseudo-classicism of the art of the period. In 1848 Daumier embarked again on his political campaign, still in the service of Le Charivari, which he left in 1860 and rejoined in 1864. Around the mid 1840's Daumier started publishing his famous caricatures depicting members of the legal profession, known as 'Les Gens de Justice', a scathing satire about judges, defendants, attorneys and corrupt, greedy lawyers in general. A number of extremely rare albums appeared on white paper, covering 39 different legal themes, of which 37 had previously been published in the Charivari. It is said that Daumier's own experience as an employee in a bailiff's office during his youth may have influenced his rather negative attitude towards the legal profession. Daumier was not only a prolific lithographer, draftsman and painter, but he also produced a notable number of sculptures in unbaked clay. In order to save these rare specimen from destruction, some of these busts were reproduced first in plaster. Bronze sculptures were posthumously produced from the plaster. The major 20th century foundries were Barbedienne, Rudier, Siot-Decauville and Valsuani. Eventually Daumier produced between 36 bust of French members of Parliament in unbaked clay. The foundries involved from 1927 on to produce a bronze edition were Barbedienne in an edition of 25 & 30 casts and Valsuani with three special casts based on the previous plaster from the Sagot-Le Garrec clay collection.These bronze bust are all posthumous, based on the original, but frequently restored unbaked clay sculptures. The clay in its restored version can be seen at the Musée d'Orsay in Paris. From the early 1950s on some baked clay 'Figurines' appeared,most of them belonging to the Gobin collection in Paris. It was Gobin who decided to have a bronze cast done by Valsuani in an edition of 30 each. Again they were posthumous and there is no proof, in contrast to the busts mentioned above, that these terra cotta figurines really were done by Daumier himself. The American school (J.Wasserman from the Fogg-Harvard Museum) are doubting their authenticity, while the French school, especially Gobin, Lecomte and of course Le Garrec and Cherpin, all somehow involved in the marketing of the bronze editions are sure of their Daumier origin. The Daumier Register (the international center of Daumier research) as well as the National Gallery of Art in Washington DC would consider the figurines as 'in the manner of Daumier' or even 'by an imitator of Daumier' (NGA) There can be no doubt about the authenticity of Daumier's Ratapoil and his Emigrants. The self portrait in bronze as well as the amazing bust of Louis XIV were frequently discussed over the last 100 years, but the general tenor is to accept them as originals by Daumier.   « Less