Antiquarian Art Co.
All Items : Fine Art : Paintings : Watercolor : Pre 1800 item #1414505 (stock #929)
An Original antique watercolor painting o af bird an ornithological study by Carl Linnaeus c. 1776. With notations and information. Presented matted and framed in archival materials. This is a wonderful, expertly drawn, original watercolor is from a German ornithological manuscript. Each watercolor is on chain-linked, watermarked paper. The titled Vogel in Beschreibungen und Abbildungen nach dem XII. vollstandigen Natur-system des Ritters Carl von Linne und nach der ausfuhrlichen Erklarung des Herrn Prof. Phil. Ludw. Statius Muller. This roughly translates to Birds in descriptions & illustrations after the natural system of Carl Linnaeus as translated by Philipp Muller. A rare and beautiful art work both decorative and historical . Please view our other original individual paintings from this antique journal like framed for Hanging in groupings
All Items : Fine Art : Paintings : Oil : Europe : Pre 1940 item #1414504 (stock #928)
Beautiful large original vintage Italian impressionist oil painting of Naples Harbor at sunset. Oil on canvas signed lower left G. Mariani. Canvas measures 24 x 36 inches. Artist Biography G. Mariani (Italian, 20th C.-), came from a family of artists who had been painting the beautiful cities and surrounding country life in and around their home of Naples, Italy, for many years. His father was the well known Italian landscape & cityscape painter Mario Mariani (Italian, 1907-) and he also had a brother, V. Mariani (Italian, 20th C.-) who was also an accomplished painter. G. Mariani loves to paint the water, the small harbors and particularly his home area of the Bay of Naples. He is well known for his coastal & seascapes views and fishing villages/marine scenes and for sunset skies which he often painted, as well as interior scenes of Italian country life. He was represented by his father Mario out of his art studio & gallery in Naples, where Mario not only represented his own work, but that of his two sons, as well as other represented artists. less DETAILS Tear Sheet Dimensions42ʺW × 2ʺD × 30ʺH
All Items : Fine Art : Paintings : Watercolor : Pre 1900 item #1413992 (stock #927)
Original antique watercolor painting of Adam and Eve cast from Paradise by Joseph Boggs Beale. Original artwork for his magic lantern work. Acquired from the Artist original estate collection. Presented matted and framed. Famed magic lantern slide artist Joseph Boggs Beale was born in Philadelphia, Pennsylvania, on December 10, 1841. He was the eldest child of Louise Boggs McCord (1815-1887) and Dr. Steven Thomas Beale (1814-1899), a prominent dentist and founder of the Pennsylvania Association of Dental Surgeons. Beale demonstrated an aptitude for drawing while attending the prestigious Philadelphia's Central High School and later the Pennsylvania Academy of Fine Arts. In 1862, the twenty-year-old Beale returned to Central High School as a professor of writing and drawing, winning the position over realist painter Thomas Eakins. During the Civil War, Beale served with the Company D, 2nd Regiment, Blue Reserves of Philadelphia. He was quickly appointed to regimental artist and created battle sketches for various publications. After the war, he became an illustrator for numerous magazines including, Harper's, Frank Leslie's Weekly, and the Daily Graphic. Beale lived in Chicago for several years with his wife, Mary Louise Taffart, before returning to Philadelphia in the early 1870s. Much of the artist's work was lost in the Great Chicago Fire of 1871. After Beale's return to Philadelphia, the prosperous glass slide dealer Caspar W. Briggs & Sons hired the talented illustrator to produce original slide designs for early projectors, known as magic lanterns. Illustrated glass slides were placed inside these machines and the image was projected onto a screen as a form of entertainment. Beale created 1,804 black and white paintings during his time at Caspar W. Briggs & Sons. The artist used a range of dark paints on charcoal gray paper, highlighted with Chinese opaque watercolors. The result, luminous and detailed illustrations with dramatic color contrast. Many of Beale's paintings chronicle American history from Native American folklore, colonization, the federal period, Civil War, to Victorian life. His illustrations also capture, Biblical and popular narrative stories. By the time of his death on February 26, 1926, Beale had become renowned for his realistic magic lantern paintings. Several years after the artist's death, a large quantity of his work was discovered in the home of a glass slide producer from Germantown, Pennsylvania. Since then, Beale's paintings have been dispersed into public and private collections.
All Items : Fine Art : Drawings : Pre 1910 item #1413793 (stock #926)
Original pastel drawing of Venice by Joseph Pennel signed lower left c.1900. Presented matted and framed Dimensions18ʺW × 1ʺD × 16ʺH. Artist Biography Born in Philadelphia, Pennell graduated from Germantown Friends. He studied art first at the School of Industrial Art (now the Philadelphia College of Art), and later at the Pennsylvania Academy of Fine Arts. Both as a friend and biographer of James Abbott McNeill Whistler, Pennell worked as either a writer or illustrator on more than one hundred books. Pennell frequently collaborated on art and travel books with his wife, Elizabeth Robins Pennell. For publications such as Century, McClure's, and Harper's, Pennell traveled the world, producing etchings, pen-and-ink drawings, and lithographs of cathedrals, plazas, street scenes, and palaces. He also made panoramic views of major construction and engineering projects, such as the Panama Canal and the locks at Niagara Falls. During World War I, he created a number of important poster designs as a part of Charles Dana Gibson's Division of Pictorial Publicity of the Committee on Public Information, which was organized when the United States entered the war in 1917. Pennell characterized the relationship of government to the arts at the time: "When the United States wished to make public its wants, whether of men or money, it found that art–as the European countries had found–was the best medium." Therese Thau Heyman Posters American Style (New York and Washington, D.C.: Harry N. Abrams, Inc., in association with the National Museum of American Art, 1998)
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1970 item #1413791 (stock #925)
Original vintage abstract oil painting of a horse and rider by Rex Ashlock. Oil on panel this art work is acquired from the artists Estate Trust controlled by the artists sister Margaret Wilmot. Overall size 19 x 14" in excellent condition. The instructor who would have the most impact on Ashlock over the course of the next two years was his near-contemporary, David Park [1911-1960]. "David Park instilled, or inspired, in me the feeling of how really to look at the subject you are painting. I recall an incident in his class that was funny but also left a lasting impression on me. We were painting a female nude model directly in oil. David Park came to my easel, his eyes darting back and forth between the model and my painting. Then he exclaimed to me, "See those breasts! You've captured them just right! They're coming right at ya!'" Park's energy and enthusiasm directly fueled Ashlock's interest in expressive painting. However, un-helped by - and unable to come to terms with - the complex emotional circumstances of his life, he would spend the next twenty years trying to find his own unique style and mode of expression. In 1940 he married a woman more sympathetic to her dreams of mysticism and social status than the down-to-earth struggles of the artist-at-work. A daughter, Margaret, was born in 1944. Family finances demanded that he take odd jobs just to make ends meet. Finally, in 1947, shortly before his son Peter was born (1948), he secured a teaching-position at the California School for Arts and Crafts in Oakland. Among his colleagues on the faculty was Richard Diebenkorn. That year he also won the watercolor prize at the annual exhibition of the San Francisco Art Association. By 1951 he was teaching at the University of California at Berkeley's Extension Division and at the Berkeley Evening Adult School. In 1955, he returned to the California School of Fine Arts as a teacher. . In 1957 he took advantage of an offer to ride East, packed his paintings onto the car-rack, and left his wife and two children to move to New York City. He became friendly with many of the abstract artists of the first generation of the New York School, drinking at the Cedar Tavern with Franz Kline, Willem de Kooning [1904-1997], and Kostas the Greek, who had a photographic memory of where "every painting was to be found in every European museum." (Kostas loved to mythologize; when he told a story, it changed with every telling, as if he were constantly experimenting with new brushwork.) They were all mourning the death of Cedar-regular Jackson Pollock, who had died in 1956. Ashlock had learned of Pollock's death on his first day in New York when the headline leapt out at him on the day he arrived in New York for a summer-visit. Ashlock's early New York works, marked by broad fields of single colors with subtle tonal changes, some characterized by moon-like shapes, others by calligraphic emblems, show the influence of leading abstract expressionists Adolph Gottlieb [1903-1974], Ad Reinhardt [1913-1967] and Mark Rothko [1903-1970]. "I never had a class in color. I studied it on my own. I bought a book by Hilaire Hiler, a San Francisco painter of small precise abstractions. He was interested in the abstract idea of color. For me it was a means to an end. I met Hiler in New York and visited with him. . . Finally, I evolved an attitude trusting my eyes." EXHIBITION RECORD 1945 Raymond & Raymond Gallery, San Francisco (solo) 1947 San Francisco AA (at San Fran. Museum Art. Walter watercolor prize) 1948 City of Paris Gallery, San Francisco (solo) 1949 Centennials Gallery, Berkeley (solo) 1950 Larry Blake Gallery, Berkeley (solo) 1950 San Francisco AA (at San Fran. Museum Art. Drawings prize) 1953 Contemporary Gallery, Berkeley (solo) 1953-54 de Young Museum, San Francisco 1954 L. Labaudt Gallery, San Francisco (solo) 1954 Valley Art Association, Sayre, Penn. (solo) 1954 G. Paul Bishop Gallery, Berkeley (solo) 1956-57 Duveen-Abraham Gallery, New York 1957 L'Envoi Gallery, San Francisco (solo) 1957 Phoenix Gallery, New York 1958 Bleeker Gallery, New York 1960 Brata Gallery, New York 1963 Brata Gallery, New York (solo) 1962 Bodley Gallery, New York (solo) 1962 Allan Stone Gallery, New York 1967 Avnet Gallery, Great Neck, New York 1969 Staten Island Art Association 1972-73 Princeton Art Association, New Jersey 1973 Caravan House, New York 1974 Painters & Sculptors Society of New Jersey (Honorable Mention, sculpture) 1977 Bond St. Gallery, New York 1979 Painters & Sculptors Society of New Jersey (National Arts Club, New York) 1981 Mushroom Gallery, Spokane, Wash., 1981 Touchstone Gallery, Spokane, Wash. 1981 1983 Westside Gallery, Spokane, Wash. 1984 Spokane Civic Center
All Items : Fine Art : Paintings : Oil : Europe : Pre 1900 item #1413790 (stock #924)
A beautiful antique oil painting by T. Walter of a French landscape titled "Autumn in the Ccvennes" a mountain range in the south central France. 19th century signed lower left oil on canvas. Presented in a the original magnificent antique gold leaf frame. Frame 39.5 X 34.25 canvas size 28.75 X 22 in
All Items : Fine Art : Paintings : Watercolor : Pre 1900 item #1413612 (stock #923)
Beautiful antique original Italian watercolor landscape painting of a waterfall and castle ruins by Vincent Blatter signed lower left. Presented matted and framed. Vincent Blatter (1843 - 1913) was active/lived in Italy. Vincent Blatter is known for painting landscapes. Overall framed size 15 x 20" excellent condition.
All Items : Fine Art : Paintings : Oil : Europe : British : Pre 1900 item #1413611 (stock #922)
Original English antique oil painting portrait of a Champion Horse in its stable by John Charles Tunnard. Oil on canvas signed lower right. Tunnard lived at Sandy, Bedfordshire, and was born in 1875; he painted equestrian subjects throughout East Anglia. His paintings of the Shuttleworth family's horses hang at Old Warden Park, Bedfordshire. Canvas measures 18 x 22" overall framed size 20.5 x 24.5".
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1970 item #1412843 (stock #920)
A beautiful vintage original oil painting portrait of a woman in a kimono signed lower right and stamped on verso. Harry Lang Barton, artist and illustrator May 12, 1908 - August 12, 2001 Born in Cleveland and raised in Seattle, Harry Barton spent his life doing the thing he truly loved--painting. Whether in the Pacific Northwest around Seattle, Hood Canal, and Puget Sound, or in the Art Students League, Central Park, and the parks and beaches of Long Island, or in Pennsylvania and New England (he often summered in Rockport, Massachusetts, and Kennebunkport, Maine), Harry's life was art. Harry's career as an artist embraced almost every medium and a great many genres: from charcoal and pen and ink to watercolor, tempura, and oil; from his early work in Seattle as a silk-screen artist and an illustrator for the Sterling Theatres and the telephone company, to his New York work as an illustrator of Western pulp fiction, detective and mystery novels, and movie and fashion advertisements, and finally to his extensive activity as a portrait and landscape painter. In the spring of 1945, he decided to study for the summer at the Art Students League in New York with Frank Reilly, and in the fall of that year he was offered work in New York as an illustrator for Gale Phillips Associates. Moving his family from Seattle, he--along with his wife Pauline and his daughters Joan and Linda--took up residence in Bayside, Queens, and soon moved to the Auburndale area of Flushing, where he had his own freelance studio and where he lived the rest of his life. Over the years his illustrations were featured in The Saturday Evening Post, Argosy, Boy's Life, Down East, and American Artist, as well as on movie billboards for Metro-Goldwyn-Mayer and in fashion advertising for Lord & Taylor and Gertz department stores. But his main body of work as an illustrator can be found in hard-cover and paperback novels published by such major firms as Dell, Ace Books, Dial Press, and Farrar Straus & Giroux. Harry's paintings and sketches were exhibited in the Philadelphia Museum of Art; in the Salmagundi Club, Lord & Taylor, the Smith Gallery, and Illustration House in New York in the Blue Heron Gallery in Wellfleet, Cape Cod; in the Schaff Gallery in Cincinnati; and in Mast Cove Gallery in Kennebunkport. He received a number of prizes for his work, and his paintings are held in private collections in the United States, Canada, and Europe. Harry was a member of the American Artists Professional League, the Salmagundi Club, and the Art Students League of New York, where he kept on working throughout his life, studying with--in addition to Frank Reilly--Samuel Edmund Oppenheini, William Draper, and Everett Raymond Kintsler. Harry loved the Art Students League and was very proud of being a Life Member. His Saturday jaunts to the League continued right up to the time when the League closed for the summer three months before he died. He was fortunate in being able to do what he enjoyed most to the very end. less
All Items : Fine Art : Prints : Lithographs : Pre 1910 item #1412401 (stock #918)
Original antique hand colored Lithograph of parrots from Mathew's The Birds of Australia. . Presented archival matted and framed. Overall framed size 13ʺW × 1ʺD × 16ʺH in excellent condition. This impeccable, hand-colored lithograph is from the first edition of Gregory Macalister Mathew's The Birds of Australia. The work was published in London by Witherby & Co. c. 1910. The artists that contributed to the work included J. G. Keulemans, Gronvold, R. Green, Goodchild, and Lodge. This work was the first major work on Australian birds since John Gould's and illustrated 100 further species than his work. It is also one of the last important natural history works to be illustrated with hand-colored lithographs. The edition was limited to 225 copies.
All Items : Fine Art : Prints : Engravings : Pre 1800 item #1411502 (stock #917)
Antique Hand Colored Engraving Sea Shells by Niccolo Guiltier 1742 with hand color. Presented in archival matte and framed. This first edition, folio shell engraving is from Niccolo Gualtieri's Index testarum conchyliorum quae adservantur in museo Nicolai Gualtieri. The work was published in Florence by C. Albizzini in 1742. The plates were engraved by Antonio Pazzi & Giuseppe Menabuoni. Gualtieri was an Italian physician and naturalist. Many of the images in the work were from his personal and renowned collection of shells. Linnaeus used many of Gualtieri's speciments for his Systema Naturae.. Dimensions: ~ 11 7/8" by 17 1/4" overall framed size 18ʺW × 1ʺD × 23ʺH.
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1900 item #1411501 (stock #916)
Antique original oil painting portrait of a young woman by Weart Banta New York 1886. Oil on canvas signed on verso and dated New York 1886 in original antique condition some very minor touch ups. Weart Banta (1862-1925) A very succsesfull New York artist know for portraiture.
All Items : Fine Art : Paintings : Watercolor : Pre 1800 item #1410935 (stock #915)
An Original antique watercolor painting of birds an ornithological study by Carl Linnaeus c. 1776. With notations and information. Presented matted and framed in archival materials. image measuring 6 x 7" . This is a wonderful, expertly drawn, original watercolor is from a German ornithological manuscript. Each watercolor is on chain-linked, watermarked paper. The titled Vogel in Beschreibungen und Abbildungen nach dem XII. vollstandigen Natur-system des Ritters Carl von Linne und nach der ausfuhrlichen Erklarung des Herrn Prof. Phil. Ludw. Statius Muller. This roughly translates to Birds in descriptions & illustrations after the natural system of Carl Linnaeus as translated by Philipp Muller. A rare and beautiful art work both decorative and historical
All Items : Fine Art : Paintings : Oil : Europe : French : Pre 1940 item #1410934 (stock #914)
Original vintage French impressionist plein air painting oil on panel signed lower right M. Jacques titled on verso Ponte De Senez dated 1937. Presented framed and matted.
All Items : Fine Art : Prints : Lithographs : Pre 1910 item #1410933 (stock #913)
An original colorful African butterfly specimens chromolithograph from Adalbert Seitz's "The Macrolepidoptera of the World." The work was published in 909. Framed and matted in contemporary gallery frame. Image: 9" x 11", overall 13" x 16".
All Items : Fine Art : Paintings : Watercolor : Pre 1940 item #1410590 (stock #912)
Vintage original watercolor of Sail Boats initaled lower r. L. F. Waldon c.1940. A Fine Addition to any Collection. Measuring overall framed size 10.5 x 12.5"
All Items : Fine Art : Paintings : Oil : Europe : French : Pre 1970 item #1410540 (stock #910)
Original French oil painting a portrait of Pascale Ogier French actress playing guitar Paris at age 17. Painted by her grandmother Marie Louise Ogier a well know talented French painter born 1912 exhibited in several Paris galleries in numerous private and public collections. About Pascale Pascale Ogier was born as Pascale Marguerite Cécile Claude Colette Nicolas in Paris, France on 26 October 1958.[1] she was the daughter of actress Bulle Ogier and musician Gilles Nicolas. Ogier also chose an acting career, first with appearances on stage. In 1982, she and her mother co-wrote the screenplay and starred in director Jacques Rivette's film Le Pont du Nord. For her performance in director Éric Rohmer's film Full Moon in Paris, Ogier was nominated for a César Award for Best Actress at the 10th César Awards and won the Volpi Cup for Best Actress at the 41st Venice International Film Festival. Shortly afterwards, at age 25 — on the day before she was to celebrate her 26th birthday — Ogier died of a heart attack probably caused by a heart murmur condition she had since age 12 combined with drug use. Ogier is buried in the Père Lachaise Cemetery in Paris. In 1986, the film Down by Law is dedicated to her
All Items : Fine Art : Paintings : Oil : N. America : American : Pre 1950 item #1410538 (stock #909)
Vintage large oil painting on canvas of a figurative Nude Female nude signed lower right Lois Gross c. 1950 painted before her marriage to Dr. Douglas G. Smiley. Measuring 32" x 50" In excellent vintage condition. LOIS GROSS SMILEY (American, born 1925, died 2019) Lois Gross Smiley was an abstract expressionist who specialized in landscape, still life and figural painting in oils and pastels. Born and raised in New York City, Smiley’s artistic training coincided with the emergence of the New York abstract expressionist and gestural abstraction painting movement. Born in New York City in 1925, Smiley attended the prestigious Dalton School in New York’s upper east side, where she studied under two prominent artists: the well-known Mexican painter Rufino Tamayo and the abstract expressionist Vaclav Vytlacil. Tamayo, who is considered a figural abstractionist, also taught Helen Frankenthaler at Dalton. Vaclav Vytlacil co-founded the American Abstract Artist Group, the predecessor of the New York School and Abstract Expressionism that contributed to the development and acceptance of abstract art in the United States. After Dalton School, Smiley went on to major in painting at Sarah Lawrence College where she received her Bachelor of Art degree in 1946. While at Sarah Lawrence, she studied drawing and painting and art history with Kurt Roesch a German born expressionist who showed and was represented by the prominent Curt Valentin gallery. In Manhattan Smiley also studied etching and engraving with Stanley William Hayter at his famed atelier 17 and Japanese woodblock printing with Bill Paden. Smiley’s work can be described as combining Cubist-inspired spatial concerns with an expressionistic approach to line and color. She worked in oils, pastels and watercolor and said of her work “Although my paintings seem abstract, each has a subject that derives from nature, felt and observed. I hope to arrive at an essence strong enough to evoke a shared recognition with the viewer.” In addition to painting, Smiley worked at the Hudson River Museum, Yonkers as the Assistant Curator of Exhibitions from 1970-1973. She taught drawing and painting in her New York studios from 1964-1990. In 1960 and 1976, Smiley received awards for watercolors she exhibited at the National Association of Women Artists held at the National Academy, New York City. She had her first solo exhibition in 1962 at the Riverdale Neighborhood House, New York and another at the Carlton Gallery, New York in 1976. In 1972, she participated in the Hudson River Museum juried group show and in 1978 she was invited to participate in the Bronx Museum of Arts “Arte, Arte, Kunst” exhibition. Smiley was a member of the National Art Association, The National Association of Women Artists, and the Cambridge and Concord Art Associations. In 1951, Lois Gross married Dr. Douglas G. Smiley by whom she had two daughters. She moved to Wellesley, Massachusetts in 1991 after her husband died to be near her daughter. She quickly became part of the New England art community, teaching drawing at the Cambridge Art Association and the Concord Art Association, where she also exhibited. She showed at the Danforth Museum Framingham, Ma where she received the directors’ award for best in show. In 1993, she held a solo exhibition at the Harvard Neighbors Gallery in Cambridge and from 1987-1996; she showed many exhibitions at Douglas Parker’s “On the Vineyard Gallery.” Smiley maintained a studio in Wellesley. She showed and was represented by the Art In Giving Gallery, where 50% of the sales of her paintings went to help fight childhood cancer. In an interview, Smiley spoke of the importance of using the finest quality materials in her work. She used linen canvas, which she stretched herself and made her own frames and also made her own pastel sticks. Many of her paintings are in private and corporate collections