A rare subscribers proof.Heath 1818, 5, Rawlinson 80 i/ii i.e. iii/iv Dedicated to John Scott, Lord High Chancellor of Great Britain and High Steward of the University of  More »

A rare subscribers proof.Heath 1818, 5, Rawlinson 80 i/ii i.e. iii/iv Dedicated to John Scott, Lord High Chancellor of Great Britain and High Steward of the University of Oxford by the publisher, James Wyatt of Oxford. A companion print to Turner's view of the High Street this fine view of the city beyond the village of South Hinksey gives a splendid portrait of tranquility compared with the hustle and bustle of the countryside round Oxford today. Joseph Mallord William Turner was born in 1775 and died in 1851. He was a student at the Royal Academy from 1790-1793 and later a pupil of Thomas Malton where he studied perspective and architectural drawing. In 1802, he became a full member of the Royal Academy and from 1815 onwards much of his prolific output of drawings was used to provide material for the line engravings in topographical works such as Picturesque Views of England and Wales.Image 400 x 600 mm, Plate 495 x 650 mm, Sheet 558 x 704 mm Published February 13th 1818. By James Wyatt Carver and Gilder, High Street, Oxford. as the Act directs. Copper engraving with later hand colour. John Pye after J.M.W. Turner. Excellent original condition with original purchase receipt on reverse. 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

Chinese architectural wood carvings with figures and foo dogs c1800 with original gold leaf. The matched pair of carving each depicts a figure, serpent and foo dog base and  More »

Chinese architectural wood carvings with figures and foo dogs c1800 with original gold leaf. The matched pair of carving each depicts a figure, serpent and foo dog base and measure 7.5 x 5 inches. They would make the perfect bookends. 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

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  More »

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. H. Goltzius “Schmerzensmann; Christ on the Cross” Engraving recorded in both catalogue resumes Ref; Barsch 48 and Hollstein . 48 . this work measures 7.25 in x 5 in on antique laid paper with TWO 18th century collectors marks on the verso and re margined in otherwise good condition .   « Less

Pablo Picasso “The Lovers” Lithograph 
Pablo Ruiz Picasso (October 25, 1881 — April 8, 1973) was a Spanish painter, draughtsman etcher,  More »

Pablo Picasso “The Lovers” Lithograph 
Pablo Ruiz Picasso (October 25, 1881 — April 8, 1973) was a Spanish painter, draughtsman etcher, lithographer and sculptor.

As one of the most recognized figures in twentieth-century art, he is best known for co-founding the Cubist movement and for the wide variety of styles embodied in his work. Among his most famous works are the proto-Cubist Les Demoiselles d’Avignon (1907) and his depiction of the German bombing of Guernica during the Spanish Civil War, Guernica (1937). The work measures 12 by 9.75 inches approximate (image in the mat open). Framed in a lovely brown carved frame. Single matted with plexiglass. Frames size is 26 by 22 inches. This is published during the artist’s lifetime with his supervision and in good condition. This and the other four are recorded works, in the Cramer catalogue Resume, Goeppert/Cramer, edition of 666. Printed-published by Cercle d’Art, Paris. Publication issued in 1970. There is no CoA. Numbered 506 / 666 in pencil. Sold as is.   « Less

Winslow Homer “A VOICE FROM THE CLIFFS” Etching A VOICE FROM THE CLIFFS. Etched by James David Smillie and plate signed by both Homer and Smillie on laid  More »

Winslow Homer “A VOICE FROM THE CLIFFS” Etching A VOICE FROM THE CLIFFS. Etched by James David Smillie and plate signed by both Homer and Smillie on laid paper, in mint condition. Smillie made this etching directly from the original watercolor, and Homer signed about ten proofs as indication of his approval of the etching. Homer later made his own etching of this subject. “In 1886, with Homer’s blessing, James D. Smillie made a skillful reproductive etching of the watercolor for use as a plate in S.R. Koehler’s American Art.” Recorded in the Witthoft’s Catalogue Raisonné, #42. Etching measure 6 3/4” x 9 7/8 on laid paper and in great condition.   « Less

Original watercolor applied to the Lithograph AFTER the original work executed in oil. This was executed by the Artist and approved by the artist's Estate and with the Braun  More »

Original watercolor applied to the Lithograph AFTER the original work executed in oil. This was executed by the Artist and approved by the artist's Estate and with the Braun & Cie of Paris, of a limited edition, 1948. Work measures 4.50 by 6.25 inches, on wove watercolor paper and in good condition. This is one of four from the same collection. Prov: Helen Hayes Degas was born in Paris, France, the eldest of five children of Célestine Musson De Gas and Augustin De Gas, a banker. The family was moderately wealthy. At age eleven, Degas (as a young man he abandoned the more pretentious spelling of the family name) began his schooling with enrollment in the Lycée Louis-le-Grand, graduating in 1853 with a baccalauréat in literature. Degas began to paint seriously early in his life. By eighteen he had turned a room in his home into an artist's studio, and had begun making copies in the Louvre, but his father expected him to go to law school. Degas duly registered at the Faculty of Law of the University of Paris in November 1853, but made little effort at his studies there. In 1855, Degas met Jean Auguste Dominique Ingres, whom he revered, and was advised by him to "draw lines, young man, many lines." In April of that same year, Degas received admission to the Ecole des Beaux-Arts, where he studied drawing with Louis Lamothe, under whose guidance he flourished, following the style of Ingres. In July 1856, Degas traveled to Italy, where he would remain for the next three years. There he drew and painted copies after Michelangelo, Raphael, Titian, and other artists of the Renaissance, often selecting from an altarpiece an individual head which he treated as a portrait. It was during this period that Degas studied and became accomplished in the techniques of high, academic, and classical art. After returning from Italy in 1859, Degas continued his education by copying paintings at the Louvre; he was to remain an enthusiastic copyist well into middle age. In the early 1860s, while visiting his childhood friend Paul Valpinçon in Normandy, he made his first studies of horses. He exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention. Although he exhibited annually in the Salon during the next five years, he submitted no more history paintings, and his Steeplechase—The Fallen Jockey (Salon of 1866) signaled his growing commitment to contemporary subject matter. The change in his art was influenced primarily by the example of Édouard Manet, whom Degas had met in 1864 while copying in the Louvre. Degas returned to Paris in 1873. The following year his father died, and in the subsequent settling of the estate it was discovered that Degas' brother René had amassed enormous business debts. To preserve the family name, Degas was forced to sell his house and a collection of art he had inherited. He now found himself suddenly dependent on sales of his artwork for income. By now thoroughly disenchanted with the Salon, Degas joined forces with a group of young artists who were intent upon organizing an independent exhibiting society. The first of their exhibitions, which were quickly dubbed Impressionist Exhibitions, was in 1874. The Impressionists subsequently held seven additional shows, the last in 1886. Degas took a leading role in organizing the exhibitions, and showed his work in all but one of them, despite his persistent conflicts with others in the group. He had little in common with Monet and the other landscape painters, whom he mocked for painting outdoors. Conservative in his social attitudes, he abhorred the scandal created by the exhibitions, as well as the publicity and advertising that his colleagues sought. He bitterly rejected the label Impressionist that the press had created and popularized, and his insistence on including such comparatively traditional artists as Jean-Louis Forain and Jean-François Raffaëlli in their exhibitions created rancor within the group, contributing to their eventual disbanding in 1886.   « Less

Amand-Durand (after Rembrandt) Femme nue les pieds dans l'eau Etching OriGreat image conceived by Rembrandt and etched by Armand Durand and pulled from the copper plate  More »

Amand-Durand (after Rembrandt) Femme nue les pieds dans l'eau Etching OriGreat image conceived by Rembrandt and etched by Armand Durand and pulled from the copper plate in late 19th century impression on arches laid paper with margins. Etched work measures approximately 6.25" by 3". This is in mint condition. Rembrandt created his etchings in the 1600's, but by the 1800's the plates for the etchings were worn and in poor condition. Armand Durand, a well respected engraver, dedicated the major part of his life re-creating Rembrandt's 347 etchings in exacting detail. Armand-Durand used as his guide, not the worn and flat plates, but the first and second state etchings of the master's original works. Durand's original etchings were so well respected they were purchased by major collectors throughout Europe, and as well as the Louvre Museum in Paris and the French Biblioteque Nationale. Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history. His contributions to art came in a period that historians call the Dutch Golden Age. Having achieved youthful success as a portrait painter, his later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. Rembrandt's greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. In his paintings and prints he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population.Because of his empathy for the human condition, he has been called "one of the great prophets of civilization."   « Less

Here we are offering fine quality Etching-Aquatint of “Les Caprices” produced in a small Limited Edition of 412 sets, printed on quality paper and executed with  More »

Here we are offering fine quality Etching-Aquatint of “Les Caprices” produced in a small Limited Edition of 412 sets, printed on quality paper and executed with the supervision of de La Bibliotheque Nationale, Madrid on “Arches” watermarked Laid paper. Each engraved work measures 5.5 by 7.5 inches, plus lettering. Sheet measures 13 by 9 inches in great condition. See enclosed image of the colophon. Platemark measures 8.50 by 5.75 inches. The colophon is not included with the purchase but can be down loaded for your records. Los Caprichos are a set of 80 aquatint prints created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya’s condemnation of the universal follies and foolishness in the Spanish society in which he lived. The criticisms are far-ranging and acidic; he speaks against the predominance of superstition, the ignorance and inabilities of the various members of the ruling class, pedagogical short-comings, marital mistakes, and the decline of rationality. Some of the prints have anticlerical themes. Goya described the series as depicting “the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance, or self-interest have made usual”. The work was an enlightened, tour-de-force critique of 18th-century Spain, and humanity in general. The informal style, as well as the depiction of contemporary society found in Caprichos, makes them – and Goya himself – a precursor to the modernist movement almost a century later. The Sleep of Reason Produces Monsters in particular has attained an iconic status. Goya added brief explanations of each image to a manuscript now in the Prado; these help greatly to explain his often cryptic intentions, as do the titles printed below each image. Goya’s series, and the last group of prints in his series The Disasters of War, which he called “caprichos enfáticos” (“emphatic caprices”) are far from the spirit of light-hearted fantasy the term caprice usually suggests in art. Los Caprichos were withdrawn from public sale very shortly after their release in 1799. In 1803 Goya offered the Caprichos’ copper plates and the first edition’s unsold sets to King Carlos IV. Later in life Goya wrote that he had felt it prudent to withdraw the prints from circulation due to the Inquisition. 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

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

The New Yorker, published September 21, 1946, featuring Bargain House, in charming colors. Artist Witold Gordon signature copy. excellent, condition, contemporary  More »

The New Yorker, published September 21, 1946, featuring Bargain House, in charming colors. Artist Witold Gordon signature copy. excellent, condition, contemporary professional.5 inch thick frame, 12.5 inch h. x 9 inch w. covered in glass,paper reverse. Design Delight.   « Less