This monogram appears on the lower right corner of the Flemish painting in our listing. We read this monogram to be two connecting masonic letter "R&D". We belive this represents the painters of this painting. A new outside lab confirms the color gold on this canvas altar painting is real "GOLD"!! After reviewing the Bob Jones Gallery 400+ collection of religious art, we found no real gold on canvas paintings in their collection. GOLD ON CANVAS IS SUPER RARE!!

The untouched signature is shown in this close-up photo and the paint used in the signature is found through out the original abstract painting. It is in untouched condition. Refer to painting.

For the last four years, I have researched every aspect of this self-portrait to confirm its artist identity!! Today, I can confirm the artist of this self-portrait, it is ROY FOX LICHTENSTEIN!! I was able to match the 1956 signature to the “rather primitive notion of patterned linear repetition”, or unknown markings (which look like Hebrew) on the side of an airplane in the RFL’s drawing “AIRPLANE 1961”. Similar markings can be found on the RFL’s TEN DOLLAR BILL 1956 Lithograph...

For the last four years, I have researched every aspect of this self-portrait to confirm its artist identity!! Today, I can confirm the artist of this self-portrait, it is ROY FOX LICHTENSTEIN!! I was able to match the 1956 signature to the “rather primitive notion of patterned linear repetition”, or unknown markings (which look like Hebrew) on the side of an airplane in the RFL’s drawing “AIRPLANE 1961”. Similar markings can be found on the RFL’s TEN DOLLAR BILL 1956 Lithograph...

Around 1960 Haku Maki probably did the Ox as a woodblock print. He was then a young artist in Tokyo. He may have done some Ox images before James Michener did his now wellknown book, but probably not many: 510 were used in the book The Modern Japanese Print". The prints of Japanese artists included in the book are large-ish, it is not embossed...

A scarce and vintage 19th century framed lithograph on cardstock/board depicting two children carving a pumpkin. The picture measures 10-1/14" x 13-1/2" and it is in a gilt gesso 16-3/4 x 14" period frame. The print has various notations, including: FROM THE AMERICAN AGRICULTURIST, BF REINHART 1870, HENCKL & SCOTT (illegible), ENTERED ACCORDING TO ACT OF CONGRESS A.D. 1872 BY ORANGE, JUDD & CO. IN THE OFFICE OF THE LIBRARIAN OF CON(obscured)...

For the last four years, I have researched every aspect of this self-portrait to confirm its artist identity!! Today, I can confirm the artist of this self-portrait, it is ROY FOX LICHTENSTEIN!! I was able to match the 1956 signature to the “rather primitive notion of patterned linear repetition”, or unknown markings (which look like Hebrew) on the side of an airplane in the RFL’s drawing “AIRPLANE 1961”. Similar markings can be found on the RFL’s TEN DOLLAR BILL 1956 Lithograph...

Notice the details of the honeysuckle flower design on the armour. Please refer to the flemish painting in our listing. The honeysuckle design on the middle right side of the photo matches the same design in 17 flemish paintings.

This is a detailed photo of Rockefeller's bluish gray eyes and broken nose. Refer to Rockefeller portrait in our listing.

Notice how well the Rockefeller photo overlays the portrait. Refer to portrait in our listing. The black and white photos at the bottom shows the various images of Rockefeller in his early years.

The photo on the left is a close-up of the Whistler butterfly signature with scorpion tail. The circular image is part of a parasol design. The photo on the right shows a close-up of Whistler's right hand holding a brush. Notice the reddish knuckles which indicates his health. Refer to Whistler portrait.

These two study photos take the x-ray image of Whistler and we have done a image overlay of an original photograph of Whistler on the left. The image on the right uses a drawing of Whistler and overlays the x-ray. Please refer back to the photo of the original portrait in our listing.

William Joseph Schaldach, 1896-1982, American, etching, "Chores - Lyons Plain, Connecticut", image size 7 3/4 x 9 3/4 inches, titled and signed in pencil.

Hermine David, French, 1886-1971, Drypoint etching, "Le Zoo de Vincennes", image size 8 7/8 x 6 1/2 inches, 1946, pencil signed and numbered 51/110, published by the Société des Peintres-Graveurs Français.

Stephen Parrish, American, 1846-1938, etching, "An Old Farm Near the Sea" (Niles Farm, Cape Ann), image size 9 7/8 x 13 7/8 inches, 1881, catalog Schneider 44, thread margins on 2 sides, pencil signed within the image.

Fin de Jour - Place St. Marco Oil on canvas - 10-5/8" x 13-3/4" (27 x 35 cm) /Frame - 20 1/2" x 23 3/4" During their lifetime few artists attain the international acclaim which has been accorded to André Hambourg, the distinguished laureate of French contemporary art. His paintings hang in more than fifty museums in France and other countries including the Musée National d'Art Moderne and the Musée d'Art Moderne de la Ville...

John Taylor Arms, American, 1887-1953, etching, "Old Rouen," image size 6 7/8 x 3 3/4 inches, 1917, pencil signed and dated, framed.

Antique Japanese MEIJI polychrome and ink painting on paper with "IMAO KEINEN" mark depicting an autumn scene with flowers and birds (woodcock/Asian Dowitcher in a pond with an insect in it's beak). Condition good, has a folding crease just below 2nd character and a water spot. 19th Century, framed with 100% silk passe-partout. Size: H. 24" x W. 14.5" (61 cm x 37 cm).