A VERY HANDSOME ''JOHN GOULD'' LITHOGRAPH TITLED ''SOMATERIA SPECTABILIS'' WITH ORIGINAL COLORING AND BEAUTIFUL DETAIL. IT HAS BEEN RE-MATTED AND FRAMED IN A LOVELY SILVER  More »

A VERY HANDSOME ''JOHN GOULD'' LITHOGRAPH TITLED ''SOMATERIA SPECTABILIS'' WITH ORIGINAL COLORING AND BEAUTIFUL DETAIL. IT HAS BEEN RE-MATTED AND FRAMED IN A LOVELY SILVER GILT WOOD FRAME WHICH MAKES THE LITHO REALLY STAND OUT BEAUTIFULLY. A GREAT ADDITION TO YOUR WALL ART! Status: For Sale Reference#: PFA_51D Condition: VERY GOOD Year: CA 1860 Country: ENGLAND Height: 23.50 in. (59.69 cm) Depth: 1.50 in. (3.81 cm) Width: 29 in. (73.66 cm) Title: HANDSOME FRAMED JOHN GOULD DUCK LITHOGRAPH   « Less

FINE ENGLISH 19TH CENTURY OIL PAINTING OF SHEEP IN A FOREST - SIGNED J. MORRIS IN ORIGINAL WALNUT FRAME. THIS PAINTING IS PARTICULARLY WELL EXECUTED AND VERY PEACEFUL TO LOOK  More »

FINE ENGLISH 19TH CENTURY OIL PAINTING OF SHEEP IN A FOREST - SIGNED J. MORRIS IN ORIGINAL WALNUT FRAME. THIS PAINTING IS PARTICULARLY WELL EXECUTED AND VERY PEACEFUL TO LOOK AT. IT IS IN VERY GOOD CONDITION. CA 1890 Status: For Sale Reference#: PFA_58V Condition: GOOD Year: CA 1890 Country: SCOTLAND Height: 26 in. (66.04 cm) Width: 34 in. (86.36 cm) Title: ENGLISH 19TH CENT OIL ON CANVAS OF SHEEP IN FOREST   « Less

An East India Company School Picture of the Bird titled Muchrunga, India, Circa 1780-1820 The pen, ink and watercolour study depicts a bird perched on a branch  More »

An East India Company School Picture of the Bird titled Muchrunga, India, Circa 1780-1820 The pen, ink and watercolour study depicts a bird perched on a branch inscribed with the titled Muchrunga also inscribed in Devanagari script below mat. Dimensions: sight: 8 1/2 inches x 6 3/4 inches Frame: 14 inches x 11 3/8 inches The frames with Truguard UV Protection glass. These drawings are lovely examples of the exquisite works produced in India by the "Company School" painters. The term "company painting" refers to a collection of paintings, drawings, and watercolours produced in India during the British colonial period. The works varied in subject matter from traditional Indian scenes and landscapes to natural history and botanical studies. The company school began to develop during the late eighteenth century with the influx of British settlers and began to decline towards the middle of the nineteenth century with the introduction of photography. It catered to British tastes by introducing the concepts of perspective and realism into traditional Indian painting, and produced many fine works, which served as an invaluable record of Colonial India. From The Metropolitan Museum (http://www.metmuseum.org/toah/hd/cpin/hd_cpin.htm) As the British East India Company expanded its purview in South Asia during the late 1700s, great numbers of its employees moved from England to carve out new lives for themselves in India. As they traveled through the country and encountered unusual flora and fauna, stunning ancient monuments, and exotic new people, they wanted to capture these images to send or take home. Whereas the modern tourist would rely on his camera for such a task, eighteenth- and nineteenth-century travelers had to hire Indian painters to do the job. The works produced by these artists, undertaken in a European style and palette, are known collectively as "Company" paintings. They are characterized in medium by the use of watercolors (instead of gouache), and in technique by the appearance of linear perspective and shading. This style of painting arose in a number of different cities. Work from each region is distinguishable by style, which grew out of and was heavily influenced by earlier local traditions. Calcutta was among the important early production centers, as the site of one of the oldest British trade houses. The city''s most enthusiastic patrons were Lord Impey, chief justice of the High Court from 1777 to 1783, and the Marquess Wellesley, who served as governor-general from 1798 to 1805. Both had collected large menageries and hired artists to paint each of the birds and animals in them. A Company-established botanical garden in Calcutta then undertook a similar project for the samples of plant life it had collected. Other influential painting centers were in Varanasi, a major Hindu pilgrimage site that drew many tourists (who knew it as Benares), and Madras, where Lord and Lady Clive were stationed from 1798 to 1804. Delhi''s market expanded after the city''s occupation by the British in 1803. Its magnificent Mughal monuments were the most popular subjects, and its artists were unique in using ivory as a base for painting. Other common subjects from this time were the residences, servants, carriages, horses, and other possessions that Company employees had amassed; Lady Impey was the patron of a number of such scenes. While in the early phases of this school artists depended on a few key patrons, by the beginning of the nineteenth century, enterprising Indian artists had begun to create sets of standard popular subjects that could be sold to any tourist passing through the major attractions. Such sets might depict a range of monuments, festivals, castes, occupations, or costumes of the subcontinent. Among the famous artists of the genre were Sewak Ram, who worked in Patna, and members of the Ghulam Ali Khan family of Delhi. Patna was one of the major centers of Company painting because it was home to both an important factory and a Provincial Committee, and thus to many British expatriates. Ram seems to have moved there in the 1790s to find work; by the 1820s, his large-scale paintings of festivals and ceremonies were being collected by the likes of Lord Minto and Lord Amherst, both governors-general. When brothers William and James Fraser were sent by the Company in 1815–16 to tour newly conquered lands in the north of the country, they took artists from Delhi with them. It was probably at this time that Ghulam Ali Khan made contact with them, but his known works date to after the Frasers'' return to Delhi in the 1820s. Khan is particularly noted for his scenes of village life; other members of the family were especially skilled at portraiture. Such a style of painting did not develop throughout the country; other cities did not have the monuments to attract British tourists or, as in the case of Rajasthan, Hyderabad, and the Punjab Hills, were home to important local patrons. The school lost its momentum as photography was introduced to India in the early 1840s. Marika Sardar,Institute of Fine Arts, New York University   « Less

An East India Company School Picture of the bird Kanra, India, Circa 1780-1820 The pen, ink and watercolour study depicts a bird perched on a branch inscribed with the  More »

An East India Company School Picture of the bird Kanra, India, Circa 1780-1820 The pen, ink and watercolour study depicts a bird perched on a branch inscribed with the titled Kanra also inscribed in Devanagari script below mat. A tear at eight o''clock. Dimensions: sight: 8 1/2 inches x 6 3/4 inches Frame: 14 inches x 11 3/8 inches The frames with Truguard UV Protection glass. These drawings are lovely examples of the exquisite works produced in India by the "Company School" painters. The term "company painting" refers to a collection of paintings, drawings, and watercolours produced in India during the British colonial period. The works varied in subject matter from traditional Indian scenes and landscapes to natural history and botanical studies. The company school began to develop during the late eighteenth century with the influx of British settlers and began to decline towards the middle of the nineteenth century with the introduction of photography. It catered to British tastes by introducing the concepts of perspective and realism into traditional Indian painting, and produced many fine works, which served as an invaluable record of Colonial India. From The Metropolitan Museum (http://www.metmuseum.org/toah/hd/cpin/hd_cpin.htm) As the British East India Company expanded its purview in South Asia during the late 1700s, great numbers of its employees moved from England to carve out new lives for themselves in India. As they traveled through the country and encountered unusual flora and fauna, stunning ancient monuments, and exotic new people, they wanted to capture these images to send or take home. Whereas the modern tourist would rely on his camera for such a task, eighteenth- and nineteenth-century travelers had to hire Indian painters to do the job. The works produced by these artists, undertaken in a European style and palette, are known collectively as "Company" paintings. They are characterized in medium by the use of watercolors (instead of gouache), and in technique by the appearance of linear perspective and shading. This style of painting arose in a number of different cities. Work from each region is distinguishable by style, which grew out of and was heavily influenced by earlier local traditions. Calcutta was among the important early production centers, as the site of one of the oldest British trade houses. The city''s most enthusiastic patrons were Lord Impey, chief justice of the High Court from 1777 to 1783, and the Marquess Wellesley, who served as governor-general from 1798 to 1805. Both had collected large menageries and hired artists to paint each of the birds and animals in them. A Company-established botanical garden in Calcutta then undertook a similar project for the samples of plant life it had collected. Other influential painting centers were in Varanasi, a major Hindu pilgrimage site that drew many tourists (who knew it as Benares), and Madras, where Lord and Lady Clive were stationed from 1798 to 1804. Delhi''s market expanded after the city''s occupation by the British in 1803. Its magnificent Mughal monuments were the most popular subjects, and its artists were unique in using ivory as a base for painting. Other common subjects from this time were the residences, servants, carriages, horses, and other possessions that Company employees had amassed; Lady Impey was the patron of a number of such scenes. While in the early phases of this school artists depended on a few key patrons, by the beginning of the nineteenth century, enterprising Indian artists had begun to create sets of standard popular subjects that could be sold to any tourist passing through the major attractions. Such sets might depict a range of monuments, festivals, castes, occupations, or costumes of the subcontinent. Among the famous artists of the genre were Sewak Ram, who worked in Patna, and members of the Ghulam Ali Khan family of Delhi. Patna was one of the major centers of Company painting because it was home to both an important factory and a Provincial Committee, and thus to many British expatriates. Ram seems to have moved there in the 1790s to find work; by the 1820s, his large-scale paintings of festivals and ceremonies were being collected by the likes of Lord Minto and Lord Amherst, both governors-general. When brothers William and James Fraser were sent by the Company in 1815–16 to tour newly conquered lands in the north of the country, they took artists from Delhi with them. It was probably at this time that Ghulam Ali Khan made contact with them, but his known works date to after the Frasers'' return to Delhi in the 1820s. Khan is particularly noted for his scenes of village life; other members of the family were especially skilled at portraiture. Such a style of painting did not develop throughout the country; other cities did not have the monuments to attract British tourists or, as in the case of Rajasthan, Hyderabad, and the Punjab Hills, were home to important local patrons. The school lost its momentum as photography was introduced to India in the early 1840s. Marika Sardar,Institute of Fine Arts, New York University   « Less

An East India Company School Picture of the bird Bilace, India, Circa 1780-1820 The pen, ink and watercolour study depicts a bird perched on a branch inscribed with  More »

An East India Company School Picture of the bird Bilace, India, Circa 1780-1820 The pen, ink and watercolour study depicts a bird perched on a branch inscribed with the titled Bilace also inscribed in Devanagari script above Bilace. A tear at eight o''clock. Dimensions: sight: 8 1/2 inches x 6 3/4 inches; Frame: 14 inches x 11 3/8 inches The frames with Truguard UV Protection glass. These drawings are lovely examples of the exquisite works produced in India by the "Company School" painters. The term "company painting" refers to a collection of paintings, drawings, and watercolours produced in India during the British colonial period. The works varied in subject matter from traditional Indian scenes and landscapes to natural history and botanical studies. The company school began to develop during the late eighteenth century with the influx of British settlers and began to decline towards the middle of the nineteenth century with the introduction of photography. It catered to British tastes by introducing the concepts of perspective and realism into traditional Indian painting, and produced many fine works, which served as an invaluable record of Colonial India. From The Metropolitan Museum (http://www.metmuseum.org/toah/hd/cpin/hd_cpin.htm) As the British East India Company expanded its purview in South Asia during the late 1700s, great numbers of its employees moved from England to carve out new lives for themselves in India. As they traveled through the country and encountered unusual flora and fauna, stunning ancient monuments, and exotic new people, they wanted to capture these images to send or take home. Whereas the modern tourist would rely on his camera for such a task, eighteenth- and nineteenth-century travelers had to hire Indian painters to do the job. The works produced by these artists, undertaken in a European style and palette, are known collectively as "Company" paintings. They are characterized in medium by the use of watercolors (instead of gouache), and in technique by the appearance of linear perspective and shading. This style of painting arose in a number of different cities. Work from each region is distinguishable by style, which grew out of and was heavily influenced by earlier local traditions. Calcutta was among the important early production centers, as the site of one of the oldest British trade houses. The city''s most enthusiastic patrons were Lord Impey, chief justice of the High Court from 1777 to 1783, and the Marquess Wellesley, who served as governor-general from 1798 to 1805. Both had collected large menageries and hired artists to paint each of the birds and animals in them. A Company-established botanical garden in Calcutta then undertook a similar project for the samples of plant life it had collected. Other influential painting centers were in Varanasi, a major Hindu pilgrimage site that drew many tourists (who knew it as Benares), and Madras, where Lord and Lady Clive were stationed from 1798 to 1804. Delhi''s market expanded after the city''s occupation by the British in 1803. Its magnificent Mughal monuments were the most popular subjects, and its artists were unique in using ivory as a base for painting. Other common subjects from this time were the residences, servants, carriages, horses, and other possessions that Company employees had amassed; Lady Impey was the patron of a number of such scenes. While in the early phases of this school artists depended on a few key patrons, by the beginning of the nineteenth century, enterprising Indian artists had begun to create sets of standard popular subjects that could be sold to any tourist passing through the major attractions. Such sets might depict a range of monuments, festivals, castes, occupations, or costumes of the subcontinent. Among the famous artists of the genre were Sewak Ram, who worked in Patna, and members of the Ghulam Ali Khan family of Delhi. Patna was one of the major centers of Company painting because it was home to both an important factory and a Provincial Committee, and thus to many British expatriates. Ram seems to have moved there in the 1790s to find work; by the 1820s, his large-scale paintings of festivals and ceremonies were being collected by the likes of Lord Minto and Lord Amherst, both governors-general. When brothers William and James Fraser were sent by the Company in 1815–16 to tour newly conquered lands in the north of the country, they took artists from Delhi with them. It was probably at this time that Ghulam Ali Khan made contact with them, but his known works date to after the Frasers'' return to Delhi in the 1820s. Khan is particularly noted for his scenes of village life; other members of the family were especially skilled at portraiture. Such a style of painting did not develop throughout the country; other cities did not have the monuments to attract British tourists or, as in the case of Rajasthan, Hyderabad, and the Punjab Hills, were home to important local patrons. The school lost its momentum as photography was introduced to India in the early 1840s. Marika Sardar,Institute of Fine Arts, New York University   « Less

Original old pastel painting of a pair of Spaniel dogs. Artist signed Beryl Ross, who I was told is/was a well-known Scottish artist. Measurements: frame:24.5 inches X 18  More »

Original old pastel painting of a pair of Spaniel dogs. Artist signed Beryl Ross, who I was told is/was a well-known Scottish artist. Measurements: frame:24.5 inches X 18 3/8 inches. Sight of artist-paper: 19 X 12 inches. I''m not sure of the exact breed, but these are definately from the Spaniel family. One dog tan and white, one tri-colour - black, white and tan. Both look ahead with those Spaniel eyes that famously make one melt. Great detail to whiskers, coat, etc. Pencil signed lower left: Beryl Ross. Original label from gallery in the UK.(including phone number). Good condition. Ready to hang. Status: For Sale Reference#: 4226 Condition: good Year: 1950 Title: OLD SPANIEL DOG PASTEL PAINTING PAIR DOGS ARTIST SIGNED   « Less

Signed and numbered mystical, Kabbalistic Judaica lithograph by well-known artist Batya Apollo, with real gold background. Very limited number made and even less available  More »

Signed and numbered mystical, Kabbalistic Judaica lithograph by well-known artist Batya Apollo, with real gold background. Very limited number made and even less available world-wide. The coloured portion measures approx 16 1/4 X 11 1/2 inches, including the writing in Hebrew around the picture. This does not include the signature, number or watermark, or the border. The picture consists of a very intricate floral design with flowers, fruit and foliage intertwining througout in bright colours on a real (24K) gold leaf ground. In the center is a double foliate circle enclosing a phrase in Hebrew, which in turn encloses a blue MIZRACH. Above this are a pair of lions (male and female) flanking a purple and gold crown with Bet and Hey (Be''ezrat Ha''Shem) around it. A wonderfully detailed pair of birds and a Hand of Fatima (Chamsa - against the evil eye) containing G-d''s name are more of the wonderful details. Each corner has part of the date, whether the Hebrew or Gregorian and the whole is surrounded by Psalms. The lithograph is hand signed and numbered by the artist. Condition is mint. The lithograph is professionally framed and enclosed in a special museum quality paper that is acid free and will guarrantee to last forever instead of causing brown marks and discoloration on this beautiful work. This is guarranteed to be original and is a rare opportunity to buy such a limited & wonderful production. Status: For Sale Reference#: 3194 Condition: good Year: 1980 Title: JUDAICA SIGNED LITHOGRAPH MYSTICAL KABBALA   « Less

Original painting in water color by well known and listed artist Rene Paris (born 1881, France and winner of many prestigeous French art prizes / awards). The painting is in  More »

Original painting in water color by well known and listed artist Rene Paris (born 1881, France and winner of many prestigeous French art prizes / awards). The painting is in a frame, measuring 25 X 20 inches. Site measurements of painting is 18 X 13 inches. The painting depicts a pair of russet / red coloured Cocker Spaniels. One seated, the other, showing off her beautiful lines, playfully trying to provoke him to play. You can almost feel the stubby tail wag and the excitement of the dog, while the other sits obediently. The artist, Rene paris was a famous animalier/animal sculptor and his sensitivity to the animals is clearly shown in this fabulous painting. Masterful brushwork and drawing. Investment quality art. Signed lower right. Very good condition. Status: For Sale Reference#: 3132 Condition: good Year: 1900 Title: ORIGL WC PAINTING SPANIEL DOGS LISTED R PARIS   « Less

This is an original, signed, dated and numbered lithograph by one of the leaders of Israel''s famous Bezalel school, Avigdor Stematsky (1908-1989). The painting depicts  More »

This is an original, signed, dated and numbered lithograph by one of the leaders of Israel''s famous Bezalel school, Avigdor Stematsky (1908-1989). The painting depicts Safed (Sfat) as the artist saw it in 1928 (the year of the terrible pogrom there). However, he has chosen to depict it as a quiet village, nestling at the foot of the mountain. A path leads to a church in the center of the scene. Beautiful soft shades of brown and blue with the artist''s wonderful light strokes of colour, allowing maximum light to shine through. The work measures 21 3/4'' X 18'' on site. It is framed in a beautiful, quiet gold frame, measuring 28'' X 4 1/2''. The work is signed in English on the lower right - A Stematsky and dated 1928. On the lower right is the lithograph serial number: 104/250. This is a lithograph by Israel''s top lithographer who knew the artist well, done on very high quality paper. Please contact me via directly. If you want to see another ''photo of this item, click on the blue writing ''another view''. Status: For Sale Reference#: 89 Condition: See Description Year: See Description   « Less

Beautiful fine 19th Century oil on canvas by German listed painter C. Wonvald measuring 15 1/2" by 11 1/2" sight and 23" by 18 1/2" in its original frame. The piece is in  More »

Beautiful fine 19th Century oil on canvas by German listed painter C. Wonvald measuring 15 1/2" by 11 1/2" sight and 23" by 18 1/2" in its original frame. The piece is in excellent original condition with no damage or in painting.   « Less