Original Works of Art

Italy, 1870. Book. Illus. by Giacomo Brogi. Very Fine. No Binding. Albumen Mammoth Print, c. 1870's , By Giacomo Brogi , 1822- 1881 Italian. Very rare photographic image by this artist , in the original restored frame . This is not one of the standard tourist pictures that you find but a true work of art by this master photographer. Both Brogi and the Alinari Brothers worked as photographers and took the standard architecture ruins photos in Italy most being small 8"x10" Albumen prints , but they did art photography also and to find one is a rare treat . This piece shows three men in a row boat on the Tiber River with Castel Saint`Angelo ( Mausoleum of Adrian ) on the right the Saint`Angelo bridge to the castle in the middle in the far distance you can see St. Peter's Dome . Looking around the photo the men in the boat you can see their reflection in the water. With sheep on the right shore and the clouds rolling by above it all this is a very importain photographic image by this… Read More

c. 1921. In the 1920s, E.E. Cummings was a regular contributor of both writing and artwork to The Dial magazine, which was the preeminent Modernist journal of its time, publishing such writers as Joyce, Pound, Eliot, Cocteau, William Carlos Williams, Marianne Moore, Ford Madox Ford and such artists as Picasso, Cezanne, Matisse and Kandinsky. Cummings was only 25 years old when his first pieces were accepted for The Dial and, notably, it was the only place where his poems and his artwork were published side by side on a regular basis. The January, 1921 issue had four drawings and a poem ("Puella Mea") by Cummings: this is Cummings' original sketch for one of those drawings, perhaps the most well-known of them, of a fawn on its hind legs, next to a nude woman, beneath a tree. This sketch was used as his pencil transfer, and as such is drawn on both sides of the paper. The final product, which was ink and graphite on paper, is now at the Metropolitan Museum of Art, a bequest of Scofield Thayer, Cummings'… Read More

Paris Circa 1590: Tomas De Leu / Leuuw, 1590. Original Engravings . Single Sheets. Very Good. Original Woodcuts. Seven Of Twelve Engravings, One For Each Month Of The Year, Approximately 7 12" X 5 1/2" Each. Tomas De Leu (Or De Leeuw) [1560 / 1562 - 1612 / 1620), Son-In-Law Of Antonio Caron, Was An Engraver And Publisher Who Worked In Paris During The Years 1576-1612 Or 1614 In The Workshop Of Jean Rabel. This Set Includes Seven Of The Twelve Engravings. These Are Strong Impressions, Trimmed Within The Plate Mark, Including January, March, April, July August, October And December. April Has A Missing Piece At The Center About 6 Cm Long In A Narrow Band Up To 8Mm Wide. Remarkable In Fineness Of Design And Detail, Resembling Little Paintings Rather Than Engravings; These Are Exquisite And Rare. Part Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were… Read More

A bare, black tree under a vivid end times sky. Oil on canvas. 16" x 12". No date. No Binding.

1962. Oil on canvas. 15" x 20". No Binding.

Arnheim: Christoffel Van Sichem, 1605. Original Woodcut 1st Printing. No Binding. Very Good. Original Engraving Circa 1605 Of Unidentified Military Leader 6 7/8" X 5 1/2", Woodcut Portrait Executed By Van Sichem From A Painting By Woud (?) , All Rare. This Example Browned, Trimmed To Edges. Christoffel Van Sichem Was A Dutch Golden Age Woodcutter And Engraver. Part Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. [Any Information About Original Title And Subject Of This Print Would Be Much Appreciated By The Seller].

Circa 1645, 1645. Original Engraving . No Binding. Near Fine. 12.5 x 6 Cm. Single Engraving. 7" X 5 3/4" Engraved Area. Part Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. [Information About Title And Publisher And Date Would Be Much Appreciated By The Seller].

Los Angeles , 1934. Original Art Work . No Binding. Very Good. Original Sketch. Original Tempera On Vellum, Image Approximately 24 1/2" X 17 1/2". Undated, Unsigned, Circa 1923-1936. Napolitano Studied At Chouinard And Otis In 1922-1925, Engaged In Work On Architectural Murals 1925-1930 Working For Designer Herman Sachs On Such Prominent Buildings As Bullocks Wilshire, Los Angeles City Hall, The Palm Beach Biltmore, Etc.; Studied Ceramics In Ny In 1929, And Then Studied Mural Painting In Germany 1930-1931, Returned To Architectural And Other Work In Nyc 1931-1932, Completed Many Wpa Murals In Southern California 1934-1936 And Some Private Commissions Including The Bel Air Bay Club Circa 1937, Illustrated Many Books For Merle Armitage 1935-1960 (Including A Book About Napolitano, 1935), Worked As A Set And Prop Designer And Artist In The 1940'S And Early 1950'S (The King And I, Etc.), Worked As A Designer-Craftsman For Judson Studios, Worked With His Wife On Original Textiles, And… Read More

Oil on cardboard. 10-3/4" x 13-3/4". No date. No Binding.

1947-04-23. Oil on cardboard. 16" x 20-1/2". No Binding.

Pittsburgh, PA / Washington, D.C. : The Associated Artists at Carnegie Institute / The Corcoran Gallery of Art, 1928 25 x 30 inches, oil on canvas. Signed by Norwood MacGilvary directly on the bottom right corner.

Paris: Imprimerie Champenois |pour CH. Masson |& H. Piazza, 1897. Fine. Imprimerie Champenois pour CH. Masson & H. Piazza, Paris (Juin 1897), sujet : 23,5x33cm, planche : 40,8x55cm, une feuille. - Rare lithographie originale exécutée par Alphons Mucha pour L'Estampe Moderne, série numéro 2 publiée en juin 1897. Une des 50 épreuves de grand luxe tirées sur Chine à grandes marges, signature de l'artiste et date dans la planche, timbre à sec de l'éditeur représentant un profil d'enfant en marge inférieure, contrecollée sur un feuillet de papier vélin avec au dos le tampon numéroté du tirage de luxe, rares rousseurs marginales sans atteinte à la figure, serpente vierge. Magnifique publication mensuelle française éditée entre mai 1897 et avril 1899, L'Estampe moderne se constitue de chromolithographies inédites qui, contrairement à d'autres revues comme Les Maîtres de l'Affiche et tel qu'il est stipulé sur les serpentes, ont été réalisées… Read More

Charlottenburg, 1928. An original portrait by the artist Richard Ingel who was based in Windscheidstraße in Berlin, Germany. The subject is a beautiful woman wearing a hat, and fashionable fur collar from the time. Her facial features and best points are highlighted by the artist, showing real skill with chalk. Signed by Ingel in the portrait. Circa mid to late 1920s. Sold under glass, in bronze effect frame, under passe-partout. If shipped, postage will be quoted at cost (either in frame or outside). Visible image: 375 mm x 260 mm (14¾ x 10¼ inches). Total size in frame: 510 x 390 mm (20 x 15¼ inches).

Charlottenburg, 1928. An original portrait by the artist Richard Ingel who was based in Windscheidstraße in Berlin, Germany. The subject is a beautiful woman wearing a hat, and fashionable fur collar from the time. Her facial features and best points are highlighted by the artist, showing real skill with chalk. Signed by Ingel in the portrait. Circa mid to late 1920s. Sold under glass, in bronze effect frame, under passe-partout. If shipped, postage will be quoted at cost (either in frame or outside). Visible image: 375 mm x 260 mm (14¾ x 10¼ inches). Total size in frame: 510 x 390 mm (20 x 15¼ inches).

Paris: L.I. (Louis Icart), 1940. Book. Fine. Hardcover. Published under the direction of Charles Meunier with the etchings of Louis Icart, printed in intaglio by French master printer Manuel Robbe. One of only 4 copies, on Japon, with extra suites of the 1st state proofs and the 2nd state proofs and the the original copper plate used for the etching on page 17. Numbered from II to V. This is copy number IV. From a total edition of 147. With 16 drypoint engravings printed in color by Louis Icart of which 5 full page and 11 in-text. The 32 full page 1st and 2nd state proofs are printed in black. All prints protected by tissue guards. Loose folded sheets in wrappers with title in gold. In publishers marbled chemise and slipcase. 28 text pages. Sheets measure 28,5 x 21,5 cm. Extremely rare copy with the extra suites and the original copper plate. Lightest wear to corner tips of slipcase. A very fine copy in collectors condition. .