Richard Sloan

Gucci photo frame, horsebit, silver plate brass, signed. Small scale silver plate frame decorated with two brass horsebits. Impressed marked on edge ...

Vintage 1940's chrome frame building directory sign with beveled glass double panels. This came from the famous Boston (North End) restaurant 'Joe Tecce's' which closed in 2010 after...

Anonymous watercolor and drawing "Gendarme on horseback" after the work of the painter Lalaisse which is part of the collection of watercolor...

Beautiful Flemish drawing from the 17th century made with drypoint and red chalk representing a bull in profile. This naturalistic drawing takes up the favorite theme of the painter Paulus Potter...

Beautiful painting representing a woman of the XVIIIth century. The scene is set in a typical interior of the period, recognisable by the furniture, armchair and bench in the Louis X...

Gucci Horsebit picture frame, brass, nickel, signed. Stirrup form photo frame finished in brass and nickel. The display opening is 5.63 inches in height by 5.75 inches wide. The four...

Lithograph of a skylark with a patinated wood frame.

Two men with a cab or the Sedan chair, in the style of Touzé. Bears collector's stamp (possibly the eye-form mark of Nathaniel Hone) and inscribed indi...

Set of four studies of archaeological excavations of the 18/19th in Nola and Sicily. Nola is known to be a city at 20 km from Pompeii, very famous for its archaeological wealth. The ...

17th century, pair of ink drawings on paper with studies for grotesques, friezes and helmets. Painter of central Italy of the 17th century, signed with monogram “A.M.”. Measurements: cm L 45.5 x H 59.5 x 5.5; cm 22 x 33 / cm L 46.5 x H 59 x 5.5; cm 22.5 x 31.5 The pair of sheets, in good condition, is framed by antique frames in carved and gilded wood. They show some china studies with some studies for different subjects. Specifically, the first sheet represents the design of a frieze of Renaissance taste under which are some studies probably referring to a family coat of arms. Below the center is a monogram “A.M.”. The sheet is also worked on the back in which are drawn some articulated elements of decoration in the style of the Renaissance grotesque...

Gucci Horsebit picture frame, nickel, signed. Stirrup form photo frame in polished nickel. The display opening is 5.63 inches in height by 5.75 inches wide. The four circular feet on...

Miniature portrait of a distinguished lady, signed Stieler. Bronze frame behind oval round glass, 19th century Signed Stieler, Joseph Karl Stieler (1781- Mainz - 1858 Munich) was a German painter. The size is 10 cm x 7.5 cm x 1 cm 1820-1830 From 1820 until 1855 he worked as royal court painter of the Bavarian kings. He is known for his Neoclassical portraits, especially for the Gallery of Beauties at Nymphenburg Palace in Munich. Born in the city of Mainz to a long-established family of engravers, punchcutters and die makers, Stieler received some artistic training from his father, August Friedrich Stieler (1736–1789). After the early death of his father, Joseph Karl autodidactically completed his apprenticeship and began his career as a painter of miniatures, which were increasingly sought after by bourgeois circles After Mainz had been occupied by French revolutionary troops in 1792, Stieler followed the expelled court of Prince-Archbishop Friedrich Karl Joseph von Erthal to Aschaffenburg. Here he met with the later Archbishop Karl Theodor Anton Maria von Dalberg, who became his most important patron and sponsor. From 1802 to 1805 he attended the Academy of Fine Arts Vienna in the master class of Heinrich Füger. Stieler's portrait style was most especially shaped during his work in the Parisian atelier of François Gérard, a student of Jacques-Louis David. In 1808, he established himself as an independent portraitist in the city of Frankfurt and in 1810 travelled through Italy. From 1812 he worked at the court of King Maximilian I Joseph of Bavaria. In 1816, he again travelled to Vienna to paint the portrait of Emperor Francis I of Austria. Between February and April 1820, he worked on his portrait of Ludwig van Beethoven, which is probably the most well-known representation of the composer today. In 1847 he also painted the portrait of Lola Montez...