Measurement: Frame: 8.5" x 10.25"; view: 5.75" x 4.5"
Material: Engraving, hand tipped
Condition: Excellent, not examined out of frame
Additional Information: Head-and-shoulders portrait, right profile, in oval; water
colored. Morris [1752-1816] Founding Father, born in New York City. American
Statesman, signatory to Articles of Confederation and the Constitution, present at
Constitutional Convention, outspoken opponent of slavery, Chairmen of Erie Canal
Commission, a long and distinguished career.
Hand-colored engraving of George Washington, ‘Georges’ in the French spelling of the name. Circular cartouche with skilled application of color. Subtitle reads ‘First President of the United States of America.’ Images of American political figures were popular in France during the late eighteenth century because of the revolutionary fervor that would soon give rise to the overturning of the monarchy and the first French Republic. (View: 8.5” by 7.5”; Frame: 9.5” by 8.5”)
Albert Rosenthal was a prominent Philadelphia portraitist, son of the artist Max Rosenthal. He is also known for his lithographs and etchings. This example was created after John Trumbull’s portrait of Alexander Hamilton, now in the Yale University Art Gallery. (Frame: 30.5 by 25.5”, sight size 19.5” by 15.5”)
This is from a series of prints depicting events witnessed and recorded by English settlers during their first attempt to establish a colony North America. (Roanoke Colony sponsored by Sir Walter Raleigh) The image is after a painting by John White, who was sent to 'Virginia' by Raleigh to record by drawings; , the new colony. The series of images provide a real and accurate history of the Native culture in the Carolina region during the period of "first contact" by the Native peoples and Europeans.
Carriages and wagons cross the bridge; canal barge towed upstream; others lie alongside the canal banks, also seen are steam tug/tow barges; schooners and brigs dry their sails. A paddle-wheeled steamboat lies at the wharf; in the distance a lighthouse is seen at the harbors mouth. Stacks of lumber can be seen all about the harbor. Paper loss at top right, toning; not examined out of frame.
(Frame: 20.5 by 16.5"; view: 17.5 by 13.5")
Lord Adam Gordon, Colonel First Regiment of Foot
Lieut. General Sir Ralph Abercromby, Second Regiment of Dragoons
The Earl of Harrington, Colonel of First Regiment Life Guards
Lieut. General James Coates, Colonel of the Second Regiment of Foot
(Harrington and Abercromby display some soiling otherwise very good overall condition; frames are 20th Century. Dimensions: frame: 8.75 by 11"; view: 7.75 by 10")
A nice image from The Natural History of Carolina, Florida and the Bahama Islands; first published 1731 - 1743 with subsequent editions in 1754, 1777, and 1800. Catesby was one of the first naturalists to visit and record flora and fauna in America. Overall condition is very good with a few spots.
(Paper size: 19 by 13.25; Frame: 20.5 by 24; view: 12.5 by 16)
A nice image from The Natural History of Carolina, Florida and the Bahama Islands; first published 1731 - 1743 with subsequent editions in 1754, 1777, and 1800. Catesby was one of the first naturalists to visit and record flora and fauna in America. Overall condition is very good with a few spots. (Paper size: 19 by 13.25; Frame: 20.5 by 24; view: 12.5 by 16; plate: 13.75 by 10.25")
A rare original factory lithograph depicting "Iver Johnson's Arms and Cycle Works, Fitchburg, MA." The print is signed at lower left corner "Kyles & Woodbury, Worcester, MA." CONDITION: Very good overall; good color, some minor toning. (Frame: 43.25 by 29.5"; view: 37.25 by 23.5")
A pair of framed hand colored lithographs by Emile Pierre Desmaisons (France / 1812 -1880), cut and constructed to create a three-dimensional effect with dried grasses added to enhance the illusion, each portraying a mother and child in a bucolic setting, framed and in oval mats, very good.
Dimensions of both: 16.5 by 18.75-inch frames, 9 by 11.5-inch sight-sizes.
The artist was born in Boston on 14 December 1848, the son of George William Merrill and Sarah Rose Alden. He studied at Boston Latin, the Lowell Institute and the Boston Museum of Fine Arts; he traveled and studied in Europe and began his career as a book illustrator. He illustrated standard editions of English classics, such as Thackeray and Scott, and original works by many American authors, including Hawthorn and Twain. In 2002, the Concord (MA) Museum mounted an exhibition of Merrill's original sketches for the 1880 edition of Little Women and his correspondence with Louisa May Alcott.
(Dimensions: 21" by 18.25" frame, 16.25" by 14" view.)
A complex and symbolic work of praise, joy and triumph that combines allegory images intended to present the glorious past of the United States. The iconography beginning in 1492 with Indians, explorers and Pilgrims; scenes from the American Revolution featuring an American eagle pouncing on the British lion and unicorn; also a depiction of vast lands, a city, a river crowded with ships of commerce and locomotives stating our prosperity all beneath a prominent American flag. The work is surmounted by a pyramid after the Acropolis displaying state shields; also shown are fifteen presidents, yet curiously, Lincoln is not present. Washington prominently holds the Constitution and covers his heart with the other hand; seated is a figure holding the Declaration of Independence; crowning this work are the goddesses of Liberty and Justice while in the vista is the capitol surmounted by our American flag. (The artist, a German born painter, came to America in 1848; he exhibited at the national Academy and the American Art Union. The artist intent was to move the viewer of this monument of American history compelling emotional participation; graphic justification for the fight to preserve the nation; the Civil War. The print is strong and has been professionally mounted, the margins are trimmed, some staining with all else very good.
We assume that the outstanding bass-relief frame with mounted ornamentation was carved specifically for this work by a skilled artist. Centering the frame are borders of bullets, stars and a rectangular laurel wreath tied at the bottom with a bow displaying 1492-1620; larger three-dimensional stars are mounted at the corners; surmounting the work is a US shield; at the bottom is a scroll carved with Geo. Washington's name and 1776. The frame has an applied molded outside edge and gilt liner; gilt has thinned to silver.
(Excellent condition and color)
Dimensions: 37.75 by 48.75" frame, 23.5 by 34.5" sight-size.
Color lithograph on two pieces of paper signed in the right lower corner "School of Emmy Zweybruck Prochoska Vienna, Helli Fritz aged 15 years."
The lower left reads "Secession Ges.m.6. Wein, VIII./2. Tiger 9.17."
Dimensions: sight size 19 by 68 inches.
Large engraving depicting the defeat of the Macedonian by the United States in October, 1812 by Philadelphia engraver Benjamin Tanner, after Thomas Birch's painting titled United States and Macedonian with six lines of Commodore Perry's official letter. We note that there are margin tears, none are distracting; one at top center; four at outermost left margin that were long ago repaired, and one at right margin extending about one-inch into print; there is a crease at upper left. The work is mounted within an oak frame with gilt liner of the nineteenth century. Affixed to the backboard is a very old "granny" note describing the piece and stating who would inherit the work. (Frame: 24.25 by 31.25 inches; view: 19.5 by 26.5 inches.
Lithograph titled "The Yankee Tar" published by J. Baillie of New York, highlighted in blue, in period frame, toning, foxing, and tears on outermost edge.
Dimensions: 15.5 by 11.75-inch frame, 13.5 by 9.75-inch sight-size.
Painted by William Hogarth-Engraved by Benj. Smith
"From the Original Picture in the Collection of John & Josiah Boydell.
Published June 4. 1795, by J&J Boydell, N'90 Cheapfide; & at the
Shakespeare Gallery, Pall Mall."
This engraved portrait of Hogarth is from a 1795 collection of the artists prints.
A vertical fold is barely seen at the right third of the art, there is an inked inscription above the plate mark, in script, that reads "No 1 large", light soiling, foxing and toning. Please know that the work was properly mounted and framed by Perry Hopf. (Plate size: 15.5 by 11.75-inches; frame 20.75 by 26.25-inches; view area: 16 b6 21.75-inches.)
As depicted, famous fast mares, acknowledged rivals of the American trotting turf, are to be afforded an opportunity of deciding the disputed question of superiority of speed on Long Island. Mr. CHAMBERS, of the Fashion Course, has offered a purse of $2,500 for a race between them". Long Island, NY, May 4th, 1869.
Good color with traces of old glue residue on margin; toning in area of title-both imperfections resultant of matt, now removed.
(Frame: 31.5 by 25.5 inches; view: 27.5 by 21.5 inches.)
Inscribed, "Mr. Daniel Lambert, Thirty-nine years of Age, weighed upwards of 52 Sto. (14 lbs. to the Stone) or seven hundred pounds, measured three yards four inches round the Body, and one yard one Inch round the leg, was five feet seven inches in Height, and had no blemish whatever on any part of his Body. Died, and was buried at Stamford, June 21, 1809." (Mounted within period molded giltwood frame; not examined out of frame; toning, creases and tears.) Daniel Lambert, (1770-1809)
(Frame: 9.5 by 7.5”, sight-size: 8.25 by 6.75”)
547-9 - SOLD
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