Art (paintings, prints, frames)
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Price :
$400.00
Mary Moran (1842-1899 )Solitude Etching on Japon PaperMary Moran etching of Solitude plate dated 1880. Measuring 5 3/4 by 7 5/8 inches on Japon Paper and is attached to a More »
Mary Moran (1842-1899 )Solitude Etching on Japon PaperMary Moran etching of Solitude plate dated 1880. Measuring 5 3/4 by 7 5/8 inches on Japon Paper and is attached to a support sheet as published attached onto a wove support sheet apart from the larger edition(American Art 1880) from the regular edition on laid paper .The work is recorded in the Klackner Catalog of Mary Moran works # 9 plate signed and dated and is in good condition.
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TOESLAM |
Email : outtatownas@gmail.com |
Phone : 321-201-6110 |
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Price :
$350.00
Felix Bracquemond- Chemin de Halage Au Bas Meudob- EtchingRare Felix Braquemond " Chemin de halage au Bas-Meudon " or (Towpath at Bas-Meudon) etched in 1868 on chine collé More »
Felix Bracquemond- Chemin de Halage Au Bas Meudob- EtchingRare Felix Braquemond " Chemin de halage au Bas-Meudon " or (Towpath at Bas-Meudon) etched in 1868 on chine collé and onto a support sheet inscribed below the image . Image measures 5 7/8 inches by 8 1/2 inches . The great image is in good condition .Duplicate impression of this impression is in the Spencer Art Museum in Kansas.Félix Henri Bracquemond (May 22, 1833 – October 29, 1914) was a French painter and etcher .Félix Bracquemond was born in Paris. He was trained in early youth as a trade lithographer , until Guichard a pupil of Ingres took him to his studio. His portrait of his grandmother, painted by him at the age of nineteen, attracted Gautier 's attention at the Salon.He applied himself to etching-engraving about 1853, and played a leading and brilliant part in the revival of the etcher's art in France. Altogether he produced over eight hundred plates, comprising portraits, landscapes, scenes of contemporary life, and bird-studies, besides numerous interpretations of other artist's paintings, especially those of Meissener, Mourau,Corot and others « Less
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TOESLAM |
Email : outtatownas@gmail.com |
Phone : 321-201-6110 |
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Price :
$150.00
Wilkie, Sir David (1785-1841) (Scottish) "The Arrival of the Rich Relation" Etching on laid paper after the original by a master engraver. This impression is well more than More »
Wilkie, Sir David (1785-1841) (Scottish) "The Arrival of the Rich Relation" Etching on laid paper after the original by a master engraver. This impression is well more than 120 years old. Published c. 1880. This is not a modern print. The strike is crisp and the lines are sharp. (Plate size 8 1/2 x 10 inches). « Less
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Price :
$250.00
Thomas Gainsborough R.A. Country PathSoft Ground Etching Conceived by Thomas Gainsborough and Engraved by W.F. Wells and J. Laporte for John and Josiah Boydell, London in More »
Thomas Gainsborough R.A. Country PathSoft Ground Etching Conceived by Thomas Gainsborough and Engraved by W.F. Wells and J. Laporte for John and Josiah Boydell, London in 1819 . One of several from a series of 60 fine soft ground etchings, 37 with original water color wash hand applied by professional water colorist of the day, under the supervision of BoydellEach image is 9.5 by 11.5 inches with the plate marks.
Inscription of T. Gainsborough R.A. and Del., J Laporte sculpt. on the lower side, both below the etched image. These all have a little foxing to the sheets out side of the engraved work on wove watercolor paper otherwise in nice condition. Thomas Gainsborough is considered to have been one of the most innovative and important British print makers of the 18th century and, although he attained both fame and fortune through his outstanding ability as a portrait painter, he viewed himself more as a landscape artist, especially during his early years.Thomas Gainsborough continued to produce accomplished landscapes of great ingenuity throughout his life but apart from the four etchings which he made during the 1850’s, he did not produce any further original prints for around fifteen to twenty years. When he did return to print making he experimented in a variety of media, working mostly in aquatint and soft ground etching. None of his later prints were published in his lifetime. « Less
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TOESLAM |
Email : outtatownas@gmail.com |
Phone : 321-201-6110 |
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Price :
$50.00
Theodorvs Vanlonivs Portrait - E. Mitchell after Van Dyck Painting
11'' by 8.5''. Not sure of the year on this item. This was well kept.
Theodorvs Vanlonivs Portrait - E. Mitchell after Van Dyck Painting
11'' by 8.5''. Not sure of the year on this item. This was well kept. « Less
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Price :
$40.00
Artist: Ross Sterling Turner (1847-1915)
Title: "A Dark and Secret Court"
Medium: chromolithograph (after the watercolor)
Size: 4 x 2 1/2 (image size); the sheet is More »
Artist: Ross Sterling Turner (1847-1915)
Title: "A Dark and Secret Court"
Medium: chromolithograph (after the watercolor)
Size: 4 x 2 1/2 (image size); the sheet is 7 x 4 1/2 inches.
This rare and charming antique lithograph was published in 1892 for "Venetian Life".
Not signed. « Less
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Price :
$50.00
Portrait of Charles F.W. Mielatz - Unknown Medium - Vintage Fine Art
This is quite a unique piece in which I can not find anything on as far as what type of art medium More »
Portrait of Charles F.W. Mielatz - Unknown Medium - Vintage Fine Art
This is quite a unique piece in which I can not find anything on as far as what type of art medium this is. It has plate marks and I know it's F.W. Mielatz.
On April 10,1891 this print (which show plate marks an is an exceptional impression) was elected Secretary & Treasure. __ Executive Board Messrs J.C. Nicoll, Thos Moran And F. S. Church.
Sheet measures 1ft by 9 1/8''. Actual plated image is 3 5/8'' by 5.5''.
This has some discoloration to the edge s but does not affect the plated image. « Less
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Phone : 321-201-6110 |
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Price :
$100.00
David Deuchar - No More Drinks - Small Vintage Etching
Little is known on this piece. The title was written in very small letters on the back of the small print. This has More »
David Deuchar - No More Drinks - Small Vintage Etching
Little is known on this piece. The title was written in very small letters on the back of the small print. This has no text on verso and bears the heavy plate marks. Sheet size is 3 5/8'' by 3 7/8''. « Less
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Price :
$200.00
Frank Short Turner “Rhrenbreitstein to Coblenz†Mezzotint
Joseph Mallord William Turner RA (April 23, 1775 — December 19, 1851) was an English More »
Frank Short Turner “Rhrenbreitstein to Coblenz†Mezzotint
Joseph Mallord William Turner RA (April 23, 1775 — December 19, 1851) was an English Romantic landscape painter, water colorist and printmaker. Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivaling history painting.
Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolor landscape painting. He is commonly known as “the painter of light†and his work regarded as a Romantic preface to impressionism.
Frank Short (1857—1945) had a major influence on his contemporaries and pupils at the Royal College of Art. His pupils there included Martin Hardie, etcher, watercolorist, author and scholar. Short revived the techniques of mezzotint and aquatint; he had a wide knowledge and skill in print-making and was largely responsible for the technical excellence of British print-making between the first and second world wars.

Short’s atmospheric Nocturnes are the most obvious example of Whistler’s influence on Short. Short worked with Whistler occasionally on printing his copperplates. Whistler, in his turn, respected him as a print-maker.
His collection included proofs by Haden, Whistler, Legros, and Samuel Palmer.
“Rhrenbreitstein†(after the watercolor by J.W.M. Turner). Mezzotint engraved by Frank Short. The Image measures 10.50 by 7 inches; plate-mark is printed on Vellum Parchment wove paper. Published in the Portfolio. London, 1891. « Less
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Price :
$5000.00
53 Disasters Of War - Goya Etchings - 1846
This is for 53 PLATES
Published by The Folio Society - The first edition to reproduce Goya’s own prints of these More »
53 Disasters Of War - Goya Etchings - 1846
This is for 53 PLATES
Published by The Folio Society - The first edition to reproduce Goya’s own prints of these momentous etchings. This facsimile is the first reproduced from those proofs and thus bears the closest likeness to Goya’s conception of the Disasters.
The images in the Disasters of War were created over the period of a decade. For each, Goya created preparatory drawings, mostly in red chalk, some in ink and wash. When working on the etchings he experimented with copper plates of varying size and a range of papers and inks.
Almost 500 individual proofs of the Disasters survive; however, the one set which can be regarded as definitive is contained in the album that Goya gave to his great friend Ceán Bermúdez, titled on the spine – somewhat confusingly – 'Capricho de Goya'. Now housed in the British Museum, it provides information about Goya’s intentions not found anywhere else. It alone bears Goya’s original title for the work, his signature, written on the closed page edges of the album, and the captions for each etching, hand-written in pencil by the artist himself.
The preliminary drawings and copper plates were stored by Goya’s son Javier, and were not found until after Javier’s death in 1854. In 1862 the plates were bought by the Royal Academy of San Fernando, which published the first edition the following year under the title Los Desastres de la Guerra. However, this and all subsequent editions, bear significant differences from Goya’s proofs. When preparing the etchings for printing, Goya wiped the plates to give maximum contrast between the etched lines and the whiteness of the paper. But in the editions created after his death, a film of ink was left on the surface of the plates, sometimes augmented with aquatint, giving a heavy tone to the entire print. The original proofs have a depth of black, a sharpness and an intensity which the published editions lack.
This facsimile is the first reproduced from Goya’s proofs, and thus bears the closest likeness to Goya’s conception of the Disasters. To achieve an exact match with the originals, four printings were employed, comprised of a pale cream to match the paper shade and three different blacks which together give the intensity and tonal variety of the original prints. The antique laid paper is also as close a match as possible to that used by Goya.
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