Here is a charming image of uit petites OieceDix huit petites Oieces de Paysages(19 prints) - [W/19 etchings] - Set - 615 x 440mm - 23•15/16 x 17•3/16in - Reiss  More »

Here is a charming image of uit petites OieceDix huit petites Oieces de Paysages(19 prints) - [W/19 etchings] - Set - 615 x 440mm - 23•15/16 x 17•3/16in - Reiss & Sohn (Alte und Neue Kunst, #134) - 10/30/2009 - #261 - [EU200] s de Paysages(19 prints). Sébastien Le Clerc " Paysans Avec un Village au fond " Etching , Published from " Dix Huit petite Pieces Passages" , Printed on fine laid paper measuring 2.75 by 3.75 inches and in good condition with light surface dirt. This is plate signed. Sébastien Le Clerc (26 September 1637 — 25 October 1714) was an etcher and engraver from Lorraine, who worked in Paris specializing in subtle reproductive engravings of paintings. He was made graveur du Roi and attached to the Cabinet du Roi. Of his reproductive engravings the connoisseur and chronicler of artistic life Pierre-Jean Mariette wrote in his Abecedario "If there has ever been an engraver who rendered himself celebrated in his profession, and who extended his capabilities beyond ordinary bounds, that is, without fear of contradiction, Sébastien Le Clerc". Sébastien Le Clerc was born in Metz, the son of Laurent Le clerc, a goldsmith and merchant of Metz, who taught his precocious son the rudiments of his art. He went to Paris in 1665, pursuing interests in geometry, physics, military architecture and perspective and supporting himself by providing illustrations for booksellers, but was counselled by the King's painter Charles Le Brun to devote himself entirely to engraving. He was accepted into the Académie royale de peinture et de sculpture in 1672 and taught perspective at the Academy school. He was appointed engraver to Louis XIV and was attached to the Gobelins. He was granted the honorific cavaliere Romano by the Pope in 1706. He died at Paris. His richly illustrated treatise on architecture (Paris, 1714) was translated into English by Ephraim Chambers as A treatise of architecture with remarks and observations. In a number of editions it served until the mid-eighteenth century as the only systematized and encyclopedic introduction to the decorative part of architecture, ornaments and enriched mouldings, that was available in English. Two early sources on his career are the pious Éloge by abbé Vallemant (Paris, 1715) full of sentimental fabrications, and the Catalogue de l'Oeuvre de Le Clerc by Charles-Antoine Jombert (Paris, 1774). Edward Meaume published a catalogue raisonnée, Sébastien Le Clerc et son oeuvre, Paris, 1877. An exhibition of his work was mounted by the Bibliothèque municipale de Metz : 27 May-26 July 1980.   « Less

Jean-François Millet (October 4, 1814 — January 20, 1875) was a French painter and print-maker ) etchings , wood cuts and Lithography)  More »

Jean-François Millet (October 4, 1814 — January 20, 1875) was a French painter and print-maker ) etchings , wood cuts and Lithography) and one of the founders of the Barbizon school in rural France. Millet is noted for his scenes of peasant farmers; he can be categorized as part of the naturalism and realism movements. After his first painting, a portrait, was accepted at the Salon of 1840, Millet returned to Cherbourg to begin a career as a portrait painter. However, the following year he married Pauline-Virginie Ono, and they moved to Paris. After rejections at the Salon of 1843 and Pauline's death by consumption, Millet returned again to Cherbourg.] In 1845 Millet moved to Le Havre with Catherine Lemaire, whom he would marry in a civil ceremony in 1853; they would have nine children, and remain together for the rest of Millet's life. In Le Havre he painted portraits and small genre pieces for several months, before moving back to Paris. It was in Paris in the middle 1840s that Millet befriended Constant Troyon, Narcisse Diaz, Charles Jacque, and Théodore Rousseau, artists who, like Millet, would become associated with the Barbizon school; Honoré Daumier, whose figure draftsmanship would influence Millet's subsequent rendering of peasant subjects; and Alfred Sensier, a government bureaucrat who would become a lifelong supporter and eventually the artist's biographer. In 1847 his first Salon success came with the exhibition of a painting Oedipus Taken down from the Tree, and in 1848 his Winnower was bought by the government.   « Less

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:  More »

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

Malaysian artist Eng Tay limited edition intaglio print number 6 out of 150. Signed and dated 1986 lower right entitled Lover. Original hand made wooden frame with linen mat.  More »

Malaysian artist Eng Tay limited edition intaglio print number 6 out of 150. Signed and dated 1986 lower right entitled Lover. 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

19th c. hand-colored Tibetan Thanga of Green Tara, goddess of longevity, protector from fear; custom mounted in a complementary green painted frame, showing the entire  More »

19th c. hand-colored Tibetan Thanga of Green Tara, goddess of longevity, protector from fear; custom mounted in a complementary green painted frame, showing the entire banner, behind glass. Dimensions: 29 2/8" W x 38 1/2" H 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

A 19th c. hand-colored Tibetan thangka painting of Vajrapani (blue in color, riding a horse), representing the power of all Buddhas; custom mounted in a complementary green  More »

A 19th c. hand-colored Tibetan thangka painting of Vajrapani (blue in color, riding a horse), representing the power of all Buddhas; custom mounted in a complementary green painted frame, behind glass, showing the entire banner. Dimensions, framed: 30 1/2" W x 38 1/2" H 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

An impressive Susan Elias abstract expressionist painting on canvas of morphic forms, signed "S. Elias" on canvas inner stretcher (see photo) . Studied Philadelphia College  More »

An impressive Susan Elias abstract expressionist painting on canvas of morphic forms, signed "S. Elias" on canvas inner stretcher (see photo) . Studied Philadelphia College of Arts, Columbia--MFA. Included in permanent collection of National Museum of Women Artists. Solo exhibits: New York, Brooklyn, Los Angeles, London & Berlin. Awards: Louis Comfort Tiffany Foundation Award 1964, Cite Internationale Des Artistes, France 1972, Pollock-Krasner Foundation Grant 1996. c. 1970. Dimensions: 45 3/4" W x 35 3/4" H, framed (original) 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

Nice folk art painting in excellent condition; appears to have the original, self made frame. Oil painting on board, 17"x23", R L Foster, 1940. Call 913-709-3808, Mark

Nice folk art painting in excellent condition; appears to have the original, self made frame. Oil painting on board, 17"x23", R L Foster, 1940. Call 913-709-3808, Mark   « Less

Circa 1965, oil on canvas, original frame, excellent condition. Wisconsin artist Janet Biggers. 913-709-3808 Mark

Circa 1965, oil on canvas, original frame, excellent condition. Wisconsin artist Janet Biggers. 913-709-3808 Mark   « Less

George Loftus Noyes was an accomplished Impressionist landscape painter of the Boston School who reached the height of his career in the early part of the 20th century. He  More »

George Loftus Noyes was an accomplished Impressionist landscape painter of the Boston School who reached the height of his career in the early part of the 20th century. He devoted his career to painting views of the countryside around Boston and the White Mountains and was known for his “en plein air” method — a French expression which means "in the open air" and is particularly used to describe the act of painting outdoors. Noyes was noted for painting images featuring water as well as haystacks. It is unusual to find both elements in one painting, which makes this artwork unique. This beautiful untitled oil work, depicting a sailboat on a pond with haystacks in the background, clearly displays his ability to capture and render sunlight and its effects on the tone and color of landscapes and water. The framed painting is 13x15 inches; actual image area is 7 3/4x9 1/2 inches. The painting is signed in the lower right. (The photo of Noyes' signatures comes from the Dictionary of Signatures & Monograms of American Artists.) About the artist: George Loftus Noyes (1864-1954) was a member of the Boston Art Club, the Boston Society of Watercolor Painters, the Boston Guild of Artists, and the North Shore Art Association. His work has been exhibited at those venues as well as at the Pennsylvania Academy of the Fine Arts; the Art Institute of Chicago; the St. Botolphe Club; the International Expo, Buenos Aires, 1910; the San Francisco Pan-Pacific Expo, 1915; Corcoran Galleries; the Museum of Fine Arts, Boston; the Addison Gallery of American Art, and the Whistler House Museum of Art. He taught a summer class at Annisquam, MA, where he became a mentor to N.C. Wyeth.   « Less