Eugene Maxime Vallée Furniture

Majestic Flying Reeves's Pheasant (Syrmaticus reevesii), a stunning avian specimen native to China, meticulously preserved to capture its intricate beauty and remarkable history. N...

Masterpieces of English Furniture: The Gerstenfeld Collection by Edward Lennox-Boyd. Christies books, 1998 1st Edition thus hardcover with dust jacket. A unique collection of 18th ce...

Masterpieces from the House of Fabrege by Alexander von Solodkoff. 1st Ed hardcover with dust jacket. Iillustrated throughout in color with items most...

This is the 2 volume set of catalogues produced by Christie's in 2012 for the sale of this most important American Collection of Masterpieces of French Art Deco to come on the market - there is a sub title to the sale "An American Celebration of French Artistry". Items for sale are by some of the greatest names of the Art Deco era - Jean...

Engraving showing the steam yacht "All Alone" cruising through calm seas. Three yachtsmen are seen in the wheelhouse. Overall dimensions: 19" H x 28" W. Weight is 10 lbs.

Masterpieces of Modern Architecture. Published by Barnes & Noble of New York in 2006. Hardcover book with dustjacket. 303 pages.  

Antique print titled 'Leijden in Hollandt'. Old print of the city of Leiden, the Netherlands. This print originates from 'Thesaurus philopoliticus oder Politisches Schatzkästlein'. T...

Vincent Van Gogh Masterpieces of Art by Stephanie Cotela Tanner. Hardcover Art Book Page count:128 Published:June 12, 2014 Contributor:Susie Hodge Format:Hardcover Publisher:Flame Tree Publishing Language:English Author:Stephanie Cotela Tanner Part of a new series of beautiful gift art books, Van Gogh Masterpieces of Art features all of the best-known works of one of the most famous artists in the world, preceded by a fresh and thoughtful introduction providing lively commentary on his life, society, places and style and techniques, including the powerful animation of his strident brushwork. "He did not paint his pictures; it was like he exhaled them in a gasping, boiling breath," one German critic aptly wrote of Van Gogh. Reminiscences of the artist by friends and passing acquaintances, letters from his brother Theo and appreciations by critics and artists make up the text of this handsomely packaged potpourri. For Margritte, the blind force of Van Gogh's obsessions made the tortured artist an unfree man. To Kokoschka, the tension in the painter's famous sunflowers and undulating cypresses speak of the fragility of an easygoing lifestyle in a mechanized age. Each artist seems to confront his or her own concerns when analyzing Van Gogh. Jean Renoir, Francoise Gilot, Gauguin and Klee are among the commentators. One hundred twenty-five superior color reproductions and 103 halftones remind us that Van Gogh could do a very formal Still Life with Coffeepot, a street scene ablaze with fauve-like color or the solemn, biblical Raising of Lazarus...

Presented here is an 1876 engraving of John B. Bachelder and James Walker’s Gettysburg. The Repulse of Longstreet’s Assault. The engraved scene depicts the decisive battle on the final day of the Battle of Gettysburg. Researched by the photographer and topographer John B. Bachelder and painted by James Walker, the original painting was created in 1870. This detailed engraving was done by H. B. Hall Jr. and published by James Drummond Ball. Otherwise called Pickett’s Charge, the battle occurred on July 3, 1863. Pickett’s corp commander, Lieutenant General James Longstreet was placed in charge of the attack despite his hesitations. Longstreet’s central role led to the title of the work, Repulse of Longstreet’s Assault. In an attempt to gain control of an important supply route, nine Confederate brigades charged across three-quarters of a mile of open ground against cannon fire to take Cemetery Ridge from the defending Union Army. Despite their overwhelming numbers, the Confederate forces were repelled with considerable casualties marking not only a decisive victory for the Union, but also the beginning of the slow defeat of Lee’s Army. The furthest the charging forces advanced before being repulsed would forever be known as the “High Water Mark of the Confederacy.” The Confederate army never recovered from the losses at Gettysburg and it effectively ended Lee’s campaign into Pennsylvania. The engraving gives the perspective from the Union rear, one that encompasses most of the battlefield, from Big Round Top on the left to the northern reaches of Cemetery Ridge on the right. The Confederate lines at Seminary Ridge are in the far distance, partially obscured by bursting shells. The image centers on the main Confederate assault, in the vicinity of what today are known as "The Copse" and "The Bloody Angle." The composition has elemen...

Antique print titled 'The Elevation of the Royal Exchange (..)'. Old engraving of the entrance facade of the Royal Exchange, Cornhill. This print originates from 'Vitruvius Brita...

Masterpieces of German Expressionism at the Detroit Institute of Arts by Horst Uhr. Published by Hudson Hills Press LLC, 1982. Stated 1st Ed ...

Antique print titled 'Le Baptême de Rhinsbourg'. This print depicts the baptism of Christians in Katwijk-Rijnsburg in The Netherlands. Source unknown, to be determined. Artists an...