Francois-Xavier Lalanne Wall Decorations

Vintage Leon Mazurowski Borzoi Graphite and Charcoal Drawing on Paper from a Palm Beach estate. Frame size is 23h x 31 w x 1 deep Im...

Original Mid 20th Century signed Boris O'Klein Dirty Dogs of Paris Hesitation, a hand colored etching of three dogs sitting in a french cafe. The male dog is sitting between two fema...

Original abstract drawing, pencil and graphite on artist paper, in colours black and white, by Oregon born artist Milton Wilson. This is part of a selection of 3 works marked Oct 76 ...

Frühe Farblithografie auf Büttenkarton mit dem Titel "Le couteau" (Das Messer) von Niki de Saint Phalle (1939 - 2002). Rechts unten mit Bleistift signiert und nummeriert, Nr.242 vo...

Auguste Renoir etching, Le Chapeau Epingle "Pinning the Hat", third version from the original 1894 etching. This is an etching of the artist Man...

La Jeunesse (Youth) Tapestry Polychrome wool and silk France, Aubusson, circa 1750 It measures 107.08 in height x 104.33 in (272 cm height x 265 cm). State of conservation: good The tapestry is accompanied by the engraving from which the subject was taken. The engraving measures 23.50 in x 25.86 in (59.7 cm x 65.7 cm) with the frame. The Aubusson tapestry has controversial origins: some believe that it was the Saracens who imported this type of work into Europe while other authors believe that the production began at the same time as the marriage between Louis I of Bourbon and Maria de Hainaut in 1310. It was at this time that a considerable importation of tapestries from Flanders into France began, followed shortly thereafter by the importation of their production techniques. At the beginning of the seventeenth century a royal edict from Henry IV halted the importation of Flemish tapestries, contributing to the subsequent Expansion of Aubusson production. The status of royal manufacture was to be granted only in 1665, even though the Nantes edict caused a drop in production because of the forced migration of weavers to Germany. The full recovery and the success of the manufacturing took place during the eighteenth century when the great painters and the tapestry manufacturers began to collaborate. Great French artists of the time and specialist painters, the “cartonniers”, painted “cartons de tapisserie” in oil or tempera, all of which were to be a source for the tapestries. As an alternative to the “cartons”, scenes taken from prints and engravings were freely used. The tapestry in question, made of wool and silk, is in good condition; the colors are still fresh and the silks, which give brightness to the scene, are well preserved. There are a small number of integrative restorations present, while the lining and the suspension system have been recently refurbished. The work is made with a flat-weave, according to the custom of the Aubusson manufactures, which is clearly demonstrated by this work since it shows all the technical and material characteristics typical of the first half of the eighteenth-century production: the “Jeunesse” was probably woven in the middle of the XVIII century. The scene itself is compelling: a rural clearing is depicted, centered around a tall tree with dense fronds with lance-shaped leaves. In the shade of this tree some scenes of courtship can be seen. A couple hugs each other, one is caught stealing a kiss and another, lying softly on the grass, is still at the early stages of courtship: together with the suitor the girl looks with smiling malice at the kissing couple. On the right, two young men practice archery while aiming at a target placed on top of a pole. The scene, with male and female characters intent on games and gallantry in a festive atmosphere, is taken - faithfully, but in mirror-image - from an engraving, which in turn was itself taken from the painting (now kept at the National Gallery in London, inv. NG103 and part of a series with the four ages of man) by Nicolas Lancret, produced around 1735. The tapestry is accompanied by a copy of the engraving, which bears, at the bottom, the name of the author (“N. Lancret pinxit”), the name of the engraver (“N. De Larmessin sculpsit”) and four short verses on the subject of love disputes: Pourquoi tous ces combats si chers a la jeunesse, Quels frivoles talents veut-elle mettre au jour? Non: chacun voudroit vaincre aux yeux de sa Maitresse, La Lice est une Scène ou triomphe l’Amour. Why all these fights so dear to youth, What frivolous talents does it want to bring to light? No: everyone would want to win in the eyes of his Mistress, The Lice is a Scene where Love triumphs. At the bottom we read: “A’ Paris chez N. De Larmessin graveur du Roy Rue de Noyer à la 4 (?) porte cochère a droite entrant par la Rue St. Jacques A.P.D.R. [Avec Privilège Du Roy]”. Nicolas Lancret (1690-1743), along with Antoine Watteau, was a pupil of Pierre Durin and Claude Gillot...

Pablo Picasso (Spanish, 1881-1973) Le Chien Pablo Picasso Original etching with sugar-lift aquatint and drypoint on Vollard paper. Thi...

Aquarelle by Jean Rene Prou French decorator for Le France paquebot little damage on the paper on the left see photo

Late 19th century antique color lithograph print titled "Manon" by Rene-Xavier Francois Prinet. Shows a female figure with tall Pompador hair do, seated, looking over her left shoulder, dressed in a loose white chemise. Giltwood frame with raised foliate detail; mottled gray mat. Lithograph on wove paper. Signed on the plate lower right margin. L’Estampe Moderne’s blind stamp on the bottom right corner. Published by Masson & Piazza, Paris. Not unlike the Maitre de L’Affiche series, L’Estampe Moderne was a portfolio printed between 1897-98, published by Imprimerie Champenois, Paris, contained 24 monthly portfolios, with four original lithographs in each. Each was commissioned only for this series. By PRINET René François Xavier (1861-1946) René François Xavier Prinet (1861-1946) Manon, 1898 "René François Xavier Prinet (31 December 1861, Vitry-le-François – 26 January 1946, Bourbonne-les-Bains) was a French painter and illustrator who drew his subjects from middle-class society. He was born to Henri Prinet, an Imperial Prosecutor in Vitry-le-François. A promotion led to him being posted in Paris, where they lived in a home not far from the École Nationale Supérieure des Beaux-Arts. His father painted as a hobby and was supportive of his desire to study art, having him seek the advice of Louis Charles Timbal [fr], a well-known church painter and friend of the family. Around 1880, he began his studies in earnest, in the studios of Jean-Léon Gérôme; remaining with him until 1885. That year, his painting "The Infant Jesus" was accepted for display at the Salon. This was followed by studies at the Académie Julian. At this time, he also became associated with a group of young artists known as the Bande Noire (Black Stripe), which included Lucien Simon, André Dauchez...

Lithographie Fernand Léger and poem André Verdet made in France in 1980 Numered and signed by Andre Verdet limited edition of 150.  

Four framed pencil Signed and Numbered Etchings. Finely framed and matted. A simply lovely group of wall decorations. Each hand drawn, signed and numb...

Abstract ink drawing of two cats in Byzantine era dressed cats, with different saturations of watercolor, the sun depicted in the upper right corner. Titled " Byzantine Cats" signed...