{"title":"Decorative Masterpieces","description":"\u003cp\u003eDiscover our finest decorative masterpieces, selected for their ability to elevate your space with both beauty and history.\u003c\/p\u003e\n\u003cp\u003eFeaturing Flamsteed’s celestial charts, works from Thornton's \u003cem\u003eTemple of Flora\u003c\/em\u003e, and the dynamic motoring pochoirs of Gamy‑Montaut, these framed pieces are the perfect gift for for collectors looking to furnish their refined space with rare works.\u003c\/p\u003e","products":[{"product_id":"brookshaw-george-series-of-four-grapes-1812-60445","title":"[Series of Four Grapes].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFor Brookshaw's most famous work \"Pomona Britannica\" or a \"Collection of the Most Esteemed Fruits at Present Cultivated in this Country; Together with the Blossoms and Leaves of Such that are Necessary to Distinguish the Various Sorts from Each Other. Selected principally from the Royal Gardens at Hampton Court and the remainder from the Most Celebrated Gardens around London\". 'Pomona Britannica' differs from other botanical books in its use of dark aquatinted backgrounds which create a dramatic contrast that distinguishes his work from the dry scientific illustrations found in other botanical studies.\u003cbr\u003e\u003cbr\u003eOriginal aquatint, stipple, and linear engravings finished with hand colouring. All in excellent condition with strong fresh colouring. Sheet size 45.8 x 57.2 cm (framed dimensions: 74 by 63cm).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eCf. Dunthorne 50; cf. Great Flower Books (1990) p. 81; cf. Nissen BBI 244; cf. Sandra Raphael An Oak Spring Pomona 40a.\u003c\/i\u003e","brand":"BROOKSHAW, George.","offers":[{"title":"Default Title","offer_id":45546714497329,"sku":"60445","price":8000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/60445_79bb1c0c-7230-4bac-9dcc-60251fdf63bb.jpg?v=1780912014"},{"product_id":"de-leth-hendrik-set-of-three-views-of-amsterdam-1720-84793","title":"Set of Three Views of Amsterdam.","description":"\u003ch4 class=\"srb-faux-head\"\u003ein contemporary hand-colour\u003c\/h4\u003eThis rare set comprises:\u003cbr\u003e1. Gezicht op de Schapen Markt near den Reguliers Toren de Munt en een gedeelte van de Doele Sluis nevens het Rondeel en den binnen Amstel over de Halve Maensbrugh langs de Erweten Markt de Huizen van de Zwanenburg straet\u003cbr\u003e2. T Gezigt van de Binnen Amstel en Schut Sluys naar de Blaauwbrug en Diaken Weeshuys \u0026amp;van de Amstelbrug af te zien in Amsterdam\u003cbr\u003e3. Gezicht van de Bosjes Sluis af langs de Kolveniers Burgwal naer de Zuider Kerx Toren het Oost Indisch huis Dol Huis Brouwery van'T Amsterdamsche wapen den toren van de Kolveniers Doelen en den Binnen Amstel.\u003cbr\u003e\u003cbr\u003eThree large engraved views, each on 2 sheets joined with 4 inset views below (on 4 separate sheets joined); titles repeated in French, overall dimension 76 x 93cm., contemporary hand-colour, backed on linen. Anciently framed and glazed.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"DE LETH, Hendrik.","offers":[{"title":"Default Title","offer_id":45546921787697,"sku":"84793","price":25000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/84793.jpg?v=1780913131"},{"product_id":"leo-rauth-collection-of-hand-coloured-lithographs-1910-87018","title":"Collection of hand-coloured lithographs.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA beautiful set of lithographs coloured by hand with gouache and watercolours and highlighted with pen. \u003cbr\u003e\u003cbr\u003eThe German painter and graphic artist Rauth (Leipzig 1884 - 1913 Tirol) became famous for his Art Deco-styled portraits, nudes and carnival scenes. The present work was executed just before the early death of the artist in the age of 29.\u003cbr\u003e\u003cbr\u003eSix hand-coloured lithographs (37.5 x 37.5 cm), each signed and dated. Most framed and glazed.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"RAUTH, Leo.","offers":[{"title":"Default Title","offer_id":45546954981681,"sku":"87018","price":4500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/87018_2271963f-75bc-4784-8b58-fd01524b7f7f.jpg?v=1780917799"},{"product_id":"watercolours-silverware-designs-1890-89944","title":"Collection of Watercolour Designs for Silverware.","description":"\u003ch4 class=\"srb-faux-head\"\u003eoriginal watercolours\u003c\/h4\u003eAttractive collection of unusual drawings for silverware items, most probably made by the prestigious WMF factory. Württembergische Metallwarenfabrik, better known as the WMF factory, has been a tableware manufacturer since 1853. By 1900 the firm had become the world's first producer and exporter of metallic products, mainly inspired by the style of Jugendstil and Art nouveau. Their 3-letter logo has since been associated with refined silverware and premium cutlery.\u003cbr\u003e\u003cbr\u003eThese charming watercolours include drawings of champagne flutes, trays, teapots, gravy boats, plates, coffee pots and sugar bowls. All the drawings use a base of various shades of black, white and grey to represent the bulk of the piece. The smaller details are vividly coloured, such as the gilt tint of the inner parts, the light blue reflection of crystal, the brown of teapot handles and the pink, green and yellow of the refined and lively motives covering one of the tea sets. Each has a caption written in German giving a description of the item, including its weight and series number. All of the pieces are adorned with beautiful motives representing flowers, curved lines, laurels and ancient patterns.\u003cbr\u003e\u003cbr\u003e9 watercolours, each framed and glazed, overall size: 440 x 633mm (17¼ x 25 inches).\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"[ANON.]","offers":[{"title":"Default Title","offer_id":45547007541553,"sku":"89944","price":12500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/89944.jpg?v=1780922446"},{"product_id":"thornton-robert-john-publisher-the-superb-lily-1799-aquatint-and-mezzotint-printed-in-colour-and-finished-by-hand-heightened-with-gum-arabic-from-the-temple-of-flora-nissen-blunt-dunthorne-alan-thomas-great-book-and-book-collector-95111","title":"The Superb Lily.","description":"\u003ch4 class=\"srb-faux-head\"\u003efine early impression\u003c\/h4\u003eFirst state. Issue A.\u003cbr\u003e\u003cbr\u003eRobert John Thornton (?1786-1837) was a prolific medical author and became a Doctor of Medicine at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for his great botanical publication The Temple of Flora, which formed a part of the larger work New Illustration of the sexual system of...Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually became known as The Temple of Flora, comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle. \u003cbr\u003e\u003cbr\u003eThese botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat of the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time. A brilliant effect.\u003cbr\u003e\u003cbr\u003eAquatint and mezzotint, printed in colour and finished by hand, heightened with gum arabic, from The Temple of Flora. Framed and glazed, overall dimensions: 52 x 64 cm. (20 1\/2 x 25 1\/4 in).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eNissen Blunt, p236-242; Dunthorne, Alan Thomas, Great Books and Book Collectors, page 144.\u003c\/i\u003e","brand":"THORNTON, Robert John (publisher).","offers":[{"title":"Default Title","offer_id":45547081859377,"sku":"95111","price":6500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/95111_6fd48d81-9b58-407c-a433-11af77640d66.jpg?v=1780921962"},{"product_id":"thornton-robert-john-publisher-the-roses-1799-the-temple-of-flora-second-estate-ing-artists-95114","title":"The Roses.","description":"\u003ch4 class=\"srb-faux-head\"\u003efirst state\u003c\/h4\u003eRobert John Thornton (?1786-1837) was a prolific medical author and became a Doctor of Medicine at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the sexual system of...Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle.\u003cbr\u003e\u003cbr\u003eThese botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat of the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time. A brilliant effect.\u003cbr\u003e\u003cbr\u003eThis rare and celebrated plate of the Roses is the only one by Thornton by himself.\u003cbr\u003e\u003cbr\u003eFirst state, aquatint and mezzotint, printed in colour and finished by hand, heightened with gum arabic, from The Temple of Flora. Framed and glazed, overall dimensions: 52 x 64 cm. (20 1\/2 x 25 1\/4 in).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eNissen Blunt, p236-242; Dunthorne, Alan Thomas, Great Books and Book Collectors, page 144.\u003c\/i\u003e","brand":"THORNTON, Robert John (publisher).","offers":[{"title":"Default Title","offer_id":45547081957681,"sku":"95114","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/95114_fa31ac68-6488-4958-ac36-e60a4a5f19d8.jpg?v=1780921960"},{"product_id":"ecole-de-redoute-pair-de-bouquets-de-roses-dans-un-vase-sur-un-entablement-98959","title":"A pair of Still Lifes of Roses in Vases.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003ea beautiful example from the school of 'the Raphael of flowers', the most celebrated botanical artist of his day.\u003cbr\u003e\u003cbr\u003eRedoute's patrons included two Empresses and two Queens, and his prodigious talents placed him at the centre of French court life, both before and after the Revolution. He was appointed drawing master to Marie Antoinette, yet despite his connections to the Royal family he survived the Terror and went on to become the court and flower painter to Empress Joséphine. It was because of her patronage that Redouté undertook Les Liliacées, which together with Les Roses, constitute the artist's greatest works. Although Joséphine had died three years before the publication of Les Roses, it was the unequalled collection of roses on her estate at Malmaison that provided the artist with his inspiration.\u003cbr\u003e\u003cbr\u003eWatercolour and gouache on vellum.\u003cbr\u003e39.2 x 31.2 cm\u003cbr\u003eFramed in perspex boxes: 39.5cm x 47.5cm x 5.5cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"[SCHOOL OF REDOUTE].","offers":[{"title":"Default Title","offer_id":45547132715313,"sku":"98959","price":9750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/98959_461eb587-ac0f-4c4d-ac13-516fa973c119.jpg?v=1780913507"},{"product_id":"gallesio-six-prlates-grapes-pomona-italiana-pisa-99413","title":"[A Group of Six Plates of Grapes","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe finest Italian work on fruits, remarkable for colouring which is at once delicate and intense. The plates appeared in 41 parts, and Domenico del Pino, Antonio Serantoni and Isabella Bozzolini were among as many as twenty artists responsible for the designs. An almost equal number of engravers were involved, Giuseppe Pera, Giuseppe Carocci, Tommaso Nasi and Francesco Corsi being well represented. A lawyer and a civil servant as well as a botanist, Gallesio conducted experiments in his fruit garden in Savona later quoted by Charles Darwin to illustrate the development of varieties. Although he died before completion of this work, he had left pre-eminent contributions to the study of Italian fruit.\u003cbr\u003e\u003cbr\u003e6 hand-coloured plates of Grapes, printed in colour and finished by hand; framed and glazed, overall size: 42.5 x 57.5 x 2cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eDunthorne 118: 'a very fine work'; Great Flower Books pp. 92-95; Oak Spring Pomona 52; Nissen BBI 683. (3)\u003c\/i\u003e","brand":"GALLESIO, Giorgio.","offers":[{"title":"Default Title","offer_id":45547136909617,"sku":"99413","price":6500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/99413.jpg?v=1780914331"},{"product_id":"buchoz-four-tulips-hand-coloured-101441","title":"[A Group of Four Tulips].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA fine group of these rare flower plates, the complete volume of 40 being part of Le Jardin d'Eden, which was intended as the supplement to the Collection des Fleurs de la Chine \u0026amp; de l'Europe, first published in 1776.\u003cbr\u003e\u003cbr\u003eThe second half of the eighteenth century saw a boom in natural history publications in France fuelled by such works as Buffon's Histoire Naturelle. The accession of Louis XVI in 1774 was followed by a relaxation in the regulation of the book trade making it easier for authors to publish their own works. No other writer was to take such copious advantage of these two developments as Pierre-Joseph Buchoz (1731-1807), a French physician, lawyer and naturalist. His works are characterised by the beauty of the illustrations, and their rarity owing to the small size of the print runs.\u003cbr\u003e\u003cbr\u003eThe final tulip plate is identified as the legendary broken flame-patterned flower 'Semper Augustus', bulbs of which were recorded as having reached prices of up to 10,000 Guilders at the height of Tulipmania in 1637, although even before this time bulbs of this particular flower had been valued at 5,500 Guilders.\u003cbr\u003e\u003cbr\u003eWe are grateful to Polly Nicholson, author of The Tulip Garden, and holder of the national historic tulips collection, for providing more details on the individual tulips described:\u003cbr\u003eThese striking tulips by Pierre Joseph Buchoz are all variations of the 'bizarre' colourway popular in the eighteenth century, with shades of red, deep pink and brown arranged over a yellow base colour. They are shown fully open, in order that the flamed and feathered markings can be best appreciated; these are all examples of 'flames' where the overlying, darker red tones flicker up the midribs of the petals and radiate around the edges. \u003cbr\u003e\u003cbr\u003eTulips had been selectively bred for over 200 years by the time these engravings were created, and the skill of the 'florists' (meaning specialist flower growers, as opposed to the modern-day definition of flower arrangers) is demonstrated by the extraordinary symmetry of the markings and the lustrous shine on the petals. Similar examples can be seen in our collection at Blacklands, where we hold National Garden Scheme open days in April each year (see ngs.org.uk under Blackland House).\u003cbr\u003e\u003cbr\u003e4 hand-coloured engraved plates of tulips, in matching silver leaf frames; dimensions: 34.6cm x 48.5cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eCleveland Collections 541 (GC copy this copy); Dunthorne 66 and 65; Great Flower Books, p.52; Hunt 565; Nissen BBI 280 and 279 (calls mistakenly for 60 and 40 plates); Pritzel 1330.\u003c\/i\u003e","brand":"BUCHOZ, Pierre Joseph.","offers":[{"title":"Default Title","offer_id":45547176591665,"sku":"101441","price":6000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/101441_74930c96-8d8f-41b9-b3b1-d8bf3637b4e4.jpg?v=1780912082"},{"product_id":"watson-greig-ballet-slippers-print-with-gold-and-silver-ink-ladies-19th-century-101509","title":"Ballet Slippers.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eScarce first edition. \u003cbr\u003e\u003cbr\u003e'The sixty-three ladies' shoes now illustrated have all belonged to and been worn by ladies of the 19th century. They have been most carefully selected to illustrate the variety and change of fashion during that period.' Each page contains three nearly life-sized shoes except for a single shoe on frontispiece and last plate, which depicts Madame Cerri's ballet slipper.\u003cbr\u003e\u003cbr\u003eChromolithographed illustration of a pair of Ballet Slippers, printed with gold and silver inks, framed and glazed, overall size: 37cm x 52cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eHiller p.395; Lipperheide 1746c.\u003c\/i\u003e","brand":"GREIG, T[homas] Watson.","offers":[{"title":"Default Title","offer_id":45547177607473,"sku":"101509","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/101509_682ae084-8eff-4f8c-92da-a95e40c9e64f.jpg?v=1780922445"},{"product_id":"raphael-loggie-vatican-rome-1772-101658","title":"Group of 14 copper engraved plates.","description":"\u003ch4 class=\"srb-faux-head\"\u003ewith contemporary hand colour\u003c\/h4\u003eBeautiful plates, scarce with vibrant original hand-colour: a complete set of pilasters from the first part of the Loggie di Rafaele nel Vaticano series. \u003cbr\u003e\u003cbr\u003eFrom the first series of Camporesi's spectacular series of decorative engravings for Raphael's Loggie, consisting of 13 bays in the Pope's private apartments, beautifully decorated by Bramante and, upon his death in 1514, finished by Raphael and his pupil Giovanni da Udine until 1519. \u003cbr\u003e\u003cbr\u003eLoggie de Raphaele nel Vaticano was a work commissioned by Pope Clement XIII, at the bidding of Catherine the Great, to portray one of the best kept secrets of the Renaissance. The plates depict the pilaster frescoes, in stucco relief, of the doorways and windows. They are renowned for their highly stylised portrayal of Classical and Biblical scenes and figures. The fanciful \"grotesqueness\" of Raphael's and mainly da Udine's designs show how much they were inspired by the recently discovered Golden House of Nero. Indeed the term \"grotesque\" was born out of the Loggie, having been applied to it due to the similarity of the designs in the subterranean rooms or 'grottoes' of Nero's Palace and these pilaster's frescoes. Some commentators place these designs amongst the defining pieces of the Italian Renaissance with Michaelangelo's Sistine Chapel and Massacio's Carmine Church.\u003cbr\u003e\u003cbr\u003e14 copper engraved plates, with beautiful contemporary hand colour, drawn by Gaetano Savorelli and Pietro Camporesi, engraved by J. Ottaviani. Framed and glazed, overall size: 56 x 123 cm\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBrunet IV, 1110; Berlin Kat 4068 \u0026amp; 4066; RIBA (Early printed books), 2710; Raphael Invenit: Stampe da Rafaello (1985) Ottaviano 2-15; Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg 1984) p.104 \u0026amp; no.245.\u003c\/i\u003e","brand":"RAPHAEL SANZIO da Urbino and others.","offers":[{"title":"Default Title","offer_id":45547180392753,"sku":"101658","price":37500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/101658_633fbf34-4dbd-4aeb-9241-171267024df0.jpg?v=1780920330"},{"product_id":"barbier-bonheur-jour-six-prints-paris-1924-102802","title":"A Group of Six Lithographs from Le Bonheur du Jour.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe plates for Le Bonheur du Jour wee amongst the largest and most carefully meditated of Barbier's designs. So ambitious was this album that it took him from 1920 to 1924 to complete it to his satisfaction. A study of manners and fashion, it was designed to appeal both to those who like to link the present to the past, and to observers of the current scene.\u003cbr\u003e\u003cbr\u003eBarbier saw similarities between the period after the Napoleonic Wars and his own post-Great War era, with dandies and their ladies free at last to enjoy frivolities and sensuality.\u003cbr\u003e\u003cbr\u003eGroup of six lithographs, hand-coloured in pochoir by Henri Reidel after Barbier, some with fully coloured backgrounds. Framed and glazed, overall size: 52 x 38.5cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eC\u003c\/i\u003e","brand":"BARBIER, George.","offers":[{"title":"Default Title","offer_id":45547201560881,"sku":"102802","price":12000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/102802.jpg?v=1780911274"},{"product_id":"gamy-montaut-voiture-schneider-pochoir-1912-102913","title":"La Voiture Th. Schneider, 1912 gagne à Dieppe Dinant et à la Sarthe vitesse et régularité \/ Magneto Bosch Corburateur Claudel Roues Riley.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eTheophile Schneider, formerly of the Rochet\/Schneider Company, began building his own cars in 1910. This car, a 2.8 litre 4 cylinder model, had an unusual radiator placement, on the dashboard. \u003cbr\u003e\u003cbr\u003eThe Gamy-Montaut prints document various, mostly hurried events in the early history of motorized transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Airplanes.\u003cbr\u003e\u003cbr\u003eClearly an enthusiast himself, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings depicted many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries.\u003cbr\u003e\u003cbr\u003eMarguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed \"M. Montaut\", she also used the name \"Gamy\", an anagram for Magy.\u003cbr\u003e\u003cbr\u003eThe Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring.\u003cbr\u003e\u003cbr\u003eHand-coloured pochoir print. Framed and glazed, overall size: 93.6cm x 49.2cm\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"GAMY \u0026 MONTAUT, Ernest.","offers":[{"title":"Default Title","offer_id":45547202249009,"sku":"102913","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/102913_4e08b058-2e1b-42b2-bc93-50ad9c9f12be.jpg?v=1780914346"},{"product_id":"gamy-montaut-cycles-motos-alcyon-pochoir-1914-102925","title":"Cycles Motos Alcyon.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe Gamy-Montaut prints document various historical events in the early history of transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Tennis.\u003cbr\u003e\u003cbr\u003eHaving observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries.\u003cbr\u003e\u003cbr\u003eMarguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed 'M. Montaut', she also used the name 'Gamy', an anagram for Magy.\u003cbr\u003e\u003cbr\u003eThe Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring.\u003cbr\u003e\u003cbr\u003eHand-coloured pochoir print. Framed and glazed, overall size: 93.6 x 49.2cm\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"GAMY \u0026 MONTAUT, Ernest.","offers":[{"title":"Default Title","offer_id":45547202674993,"sku":"102925","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/102925.jpg?v=1780914338"},{"product_id":"104909","title":"Coupe Gordon Bennett 1909 - Curtiss le gagnant.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThis example shows the American Aviator Glenn Curtiss, flying a Curtiss no. 2, as he took first prize in the 1909 Gordon Bennett competition in Reims, France.\u003cbr\u003e\u003cbr\u003eThe Gamy-Montaut prints document various historical events in the early history of transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Tennis. \u003cbr\u003e\u003cbr\u003eHaving observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries.\u003cbr\u003e\u003cbr\u003eMarguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed \"M. Montaut\", she also used the name \"Gamy\", an anagram for Magy.\u003cbr\u003e\u003cbr\u003eThe Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring.\u003cbr\u003e\u003cbr\u003eHand-coloured pochoir print. Framed and glazed, overall size: 51.3cm x 96cm x 4.5cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"GAMY \u0026 MONTAUT, Ernest.","offers":[{"title":"Default Title","offer_id":45547278729521,"sku":"104909","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/104909_83c2309b-4061-4885-9745-d19726be4d6a.jpg?v=1780908937"},{"product_id":"john-flamsteed-cassipea-cephus-ursa-minor-draco-1753-108223","title":"Cassiopea Cephus Ursa Minor Draco","description":"\u003ch4 class=\"srb-faux-head\"\u003e18th-century celestial print\u003c\/h4\u003eA fine star chart from the Atlas Coelestis, the largest and most accurate star atlas published up to that time. \u003cbr\u003e\u003cbr\u003eCharles II founded the Royal Observatory in Greenwich in 1675 and in the same year John Flamsteed (1646-1719), was appointed the first Astronomer Royal. Flamsteed began to collect data on the stars as observed using a telescope in order to create a star atlas showing the sky above Greenwich. This was a huge undertaking and Flamsteed didn't live to see its publication, which was finally produced by his widow in 1729, ten years after his death. The stars were positioned and the co-ordinates drawn by Abraham Sharp, while the figures in the constellations were after drawings by Sir James Thornhill and others. In his atlas Flamsteed corrects the errors in position made by earlier astronomers such as Bayer in the seventeenth century. It was considered the first significant contribution of the Greenwich Observatory, and the numerical Flamsteed designations for stars are still in use.\u003cbr\u003e\u003cbr\u003eHand-coloured star chart heightened with gold and silver, engraved by John Mynde, from the second edition of Flamsteed's 'Atlas Coelestis'. Framed and glazed, overall size: 85.7 x 68 x 4cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"FLAMSTEED, John.","offers":[{"title":"Default Title","offer_id":45547504894257,"sku":"108223","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/108223.jpg?v=1780916473"},{"product_id":"john-flamsteed-andromeda-perseus-triangulum-1753-108231","title":"Andromeda Perseus Triangulum.","description":"\u003ch4 class=\"srb-faux-head\"\u003e18th-century celestial map\u003c\/h4\u003epublished up to that time.\u003cbr\u003e\u003cbr\u003eCharles II founded the Royal Observatory in Greenwich in 1675 and in the same year John Flamsteed (1646-1719), was appointed the first Astronomer Royal. Flamsteed began to collect data on the stars as observed using a telescope in order to create a star atlas showing the sA fine star chart from the Atlas Coelestis, the largest and most accurate star atlas ky above Greenwich. This was a huge undertaking and Flamsteed didn't live to see its publication, which was finally produced by his widow in 1729, ten years after his death. The stars were positioned and the co-ordinates drawn by Abraham Sharp, while the figures in the constellations were after drawings by Sir James Thornhill and others. In his atlas Flamsteed corrects the errors in position made by earlier astronomers such as Bayer in the seventeenth century. It was considered the first significant contribution of the Greenwich Observatory, and the numerical Flamsteed designations for stars are still in use.\u003cbr\u003e\u003cbr\u003eHand-coloured star chart heightened with gold and silver, engraved by John Mynde, from the second edition of Flamsteed's 'Atlas Coelestis'. Framed and glazed, overall size: 680 x 803mm (26¾ x 31½ inches).\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"FLAMSTEED, John.","offers":[{"title":"Default Title","offer_id":45547505287473,"sku":"108231","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/108231.jpg?v=1780916465"},{"product_id":"pair-of-prints-by-kip-saint-pauls-cathedral-1724-108625","title":"The Cathedral Church of St. Paul's in London. A section of the Cross Isle from North to South with a Prospect of the Choir and Dome","description":"\u003ch4 class=\"srb-faux-head\"\u003ea pair - the interior \u0026amp; exterior of St. Paul's Cathedral, London\u003c\/h4\u003e\u003cbr\u003e\u003cbr\u003eA pair of copper engravings, framed and glazed, overall size: 109cm x 87cm x 2cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"[KIP, J.]","offers":[{"title":"Default Title","offer_id":45547550114097,"sku":"108625","price":3000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/108625_0f2c24eb-0ecc-4fcb-b7bd-fae2a7a5806c.jpg?v=1780919171"},{"product_id":"macbeth-raeburn-henry-english-nobility-mezzotints-1924-86656","title":"English Nobility.\u003cbr \/\u003e","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003e\u003cbr\u003e\u003cbr\u003e4 mezzotints printed in colours.  Framed and glazed. \u003cbr\u003ePriced individually \u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"MACBETH-RAEBURN, Henry.","offers":[{"title":"Default Title","offer_id":45547664146737,"sku":"86656","price":8000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/86656.jpg?v=1780918102"},{"product_id":"107112","title":"[Red Bédélia Cyclecar].","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe archetype of French cyclecars the Bédélia was manufactured between 1910 and 1925 by Bourbeau et Devaux Co. of Paris. With the passenger seated at the front, the driver was at the rear steering the vehicle. In 1913 a Bédélia won the Cyclecar Grand Prix at Amiens (the year this print was made).\u003cbr\u003e\u003cbr\u003eThe Gamy-Montaut prints document various historical events in the early history of transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Tennis.\u003cbr\u003e\u003cbr\u003eHaving observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries.\u003cbr\u003e\u003cbr\u003eMarguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed 'M. Montaut', she also used the name 'Gamy', an anagram for Magy.\u003cbr\u003e\u003cbr\u003eThe Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring.\u003cbr\u003e\u003cbr\u003eHand-coloured pochoir print. Framed and glazed, overall size: 94 x 49 x 5cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"GAMY \u0026 MONTAUT, Ernest.","offers":[{"title":"Default Title","offer_id":55186165367159,"sku":"107112","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/107112_8310b41c-7600-438c-901f-58c17f09c189.jpg?v=1780909017"},{"product_id":"117019","title":"The Narrow-Leaved Kalmia.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eRobert John Thornton (?1786-1837) was a prolific medical author and became a Doctor of Medicine at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the sexual system of...Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle.\u003cbr\u003e\u003cbr\u003eThese botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat of the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time. A brilliant effect.\u003cbr\u003e\u003cbr\u003eAquatint and mezzotint, printed in colour and finished by hand, from The Temple of Flora.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eNissen Blunt, p236-242; Dunthorne, Alan Thomas, Great Books and Book Collectors, page 144.\u003c\/i\u003e","brand":"THORNTON, Robert John (publisher).","offers":[{"title":"Default Title","offer_id":55750308823415,"sku":"117019","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117019.jpg?v=1780909529"},{"product_id":"117020","title":"The Pontic Rhododendron.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eRobert John Thornton (?1786-1837) was a prolific medical author and became a Doctor of Medicine at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the sexual system of...Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle.\u003cbr\u003e\u003cbr\u003eThese botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat of the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time. A brilliant effect.\u003cbr\u003e\u003cbr\u003eAquatint and mezzotint, printed in colour and finished by hand, heightened with gum arabic, from The Temple of Flora.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eNissen Blunt, p236-242; Dunthorne, Alan Thomas, Great Books and Book Collectors, page 144.\u003c\/i\u003e","brand":"THORNTON, Robert John (publisher).","offers":[{"title":"Default Title","offer_id":55750308856183,"sku":"117020","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117020_83ea6f34-14ee-4aa5-afbb-187e2fffe8a0.jpg?v=1780909529"},{"product_id":"117025","title":"A Group of Auriculas.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eRobert John Thornton (?1786-1837) was a prolific medical author and became a Doctor of Medicine at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the sexual system of...Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle.\u003cbr\u003e\u003cbr\u003eThese botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat of the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time. A brilliant effect.\u003cbr\u003e\u003cbr\u003eAquatint and mezzotint, printed in colour and finished by hand, from The Temple of Flora. Paper size: 55.5 cm x 46.5 cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eNissen Blunt, p236-242; Dunthorne, Alan Thomas, Great Books and Book Collectors, page 144.\u003c\/i\u003e","brand":"THORNTON, Robert John (publisher).","offers":[{"title":"Default Title","offer_id":55750309642615,"sku":"117025","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117025_4cc06bcf-a769-47d5-86da-50a6586b362c.jpg?v=1780909533"},{"product_id":"119357","title":"Le Dirigeable \"Republique\" moteur Panhard \u0026 Levassor.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA group standing near their Panhard \u0026amp; Levassor automobile on a cliff side watch the airship, Republique, fly overhead.\u003cbr\u003e\u003cbr\u003eErnest Montaut (1878-1909) was an innovative French poster designer whose all-too-short career captured the exhilarating new world of motorised transport, whether in the air, on the water, or especially at high speed on the ground. He introduced the stylistic conceits of close horizontal lines and forward-leaning perspective in his vehicles, for instance, to exaggerate the sense of rapid motion. This period from the mid-1890s saw not only the rapid evolution of the motor car, but also the application of the internal combustion engine to boat design, as well as being fundamental in making possible the whole new concept of powered flight. \u003cbr\u003e\u003cbr\u003eMontaut was joined in this endeavour by his wife, Marguerite (1883-1936), who expanding the range of earlier motoring posters to include aviation. She occasionally signed herself as M. Montaut, but more often as Gamy, an anagram of her familiar name, Magy. Following her husband's untimely death at the age of only 31, Marguerite continued their good work in the same distinctive and highly appealing style. This centred on the bold flat colours of the pochoir printing technique they mastered so well. Outlines and any text were printed lithographically, then corresponding stencils carefully prepared to allow in-filling by hand in watercolour and gouache, employing a number of artists for the purpose, leading to subtle variations in colour in each painstaking example, often taking days to complete. It is this combination of factors that gives these highly attractive prints their superlative quality.\u003cbr\u003e\u003cbr\u003eHand-coloured pochoir print, paper size: 45 cm x 90 cm. Framed and glazed, overall size: 49.3 cm x 93.5 cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"GAMY-MONTAUT, Ernest and Marguerite.","offers":[{"title":"Default Title","offer_id":55817090630007,"sku":"119357","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119357.jpg?v=1780909717"},{"product_id":"119375","title":"\"ZEPPELIN\"","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eCount Ferdinand von Zeppelin (1838-1917) developed his interest in airships as early as the 1870s. By 1895, he had patented the first of these iconic craft to carry his name, the patent in US following four years later. In 1909, he founded the Deutsche Luftschiffahrts-Aktiengesellschaft (DELAG), the world's first commercial passenger-carrying airline. As can be seen here, where this 1912 model is depicted gliding in a leisurely manner above the Rhine, the service provided mainly pleasure cruises rather than inter-city travel.\u003cbr\u003e\u003cbr\u003eErnest Montaut (1878-1909) was an innovative French poster designer whose all-too-short career captured the exhilarating new world of motorised transport, whether in the air, on the water, or especially at high speed on the ground. He introduced the stylistic conceits of close horizontal lines and forward-leaning perspective in his vehicles, for instance, to exaggerate the sense of rapid motion. This period from the mid-1890s saw not only the rapid evolution of the motor car, but also the application of the internal combustion engine to boat design, as well as being fundamental in making possible the whole new concept of powered flight. \u003cbr\u003e\u003cbr\u003eMontaut was joined in this endeavour by his wife, Marguerite (1883-1936), who expanding the range of earlier motoring posters to include aviation. She occasionally signed herself as M. Montaut, but more often as Gamy, an anagram of her familiar name, Magy. Following her husband's untimely death at the age of only 31, Marguerite continued their good work in the same distinctive and highly appealing style. This centred on the bold flat colours of the pochoir printing technique they mastered so well. Outlines and any text were printed lithographically, then corresponding stencils carefully prepared to allow in-filling by hand in watercolour and gouache, employing a number of artists for the purpose, leading to subtle variations in colour in each painstaking example, often taking days to complete. It is this combination of factors that gives these highly attractive prints their superlative quality.\u003cbr\u003e\u003cbr\u003eHand-coloured pochoir print, 44 cm x 88.5 cm. Framed and glazed, overall size: 49.3 cm x 93.5 cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"GAMY-MONTAUT, Ernest \u0026 Marguerite.","offers":[{"title":"Default Title","offer_id":55817091547511,"sku":"119375","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119375_89f09638-4781-46c1-95dc-66eabea03075.jpg?v=1780909724"},{"product_id":"119404","title":"Renault 1913.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe Gamy-Montaut prints document various historical events in the early history of transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Tennis.\u003cbr\u003e\u003cbr\u003eHaving observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries.\u003cbr\u003e\u003cbr\u003eMarguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed \"M. Montaut\", she also used the name \"Gamy\", an anagram for Magy.\u003cbr\u003e\u003cbr\u003eThe Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncoloured prints as a template, elaborate stencils were cut for each colour. Water-colour was then brushed onto the image through the stencil. The colouring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the colouring.\u003cbr\u003e\u003cbr\u003eHand-coloured pochoir print, size: 45 cm x 90 cm. Framed and glazed, overall size: 49.3 cm x 93.5 cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"GAMY and MONTAUT, Ernest.","offers":[{"title":"Default Title","offer_id":55817091580279,"sku":"119404","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119404_0a5b9004-7744-4041-a869-66aedd5fb7a0.jpg?v=1780909726"},{"product_id":"mughal-india-painting-khandahar-br-114054","title":"[The Siege of Khandahar],","description":"\u003ch4 class=\"srb-faux-head\"\u003eShah Jahan in battle\u003c\/h4\u003eA very large and impressive view of the Siege of Khandahar, the Mughal-Safavid war of 1649-1653, as presented in the Padshahnameh of Shah Jahan. \u003cbr\u003e\u003cbr\u003eThe Padshahnameh is illustrated chronicle of the reign of Shah Jahan, the fifth Mughal emperor, commissioned during his reign as a propagandist celebration of his kingdom and dynasty. The text is a detailed chronological narrative of each day of the emperor's reign, describing his daily activities, court ceremonies as well as the significant events in Emperor Shah-Jahan's life such as the durbars, lavish processions, and glorious victories on the battlefield.\u003cbr\u003e\u003cbr\u003eSingle large illuminated miniature on paper, ink and gouache on paper, depicting the view of the Siege of Khandahar in modern-day Afghanistan, total leaf 760 x 545 mm, miniature 690 x 470 mm; miniature double-ruled in gilt framed, decorated with spiraling florettes, a few light surface smudges, leaf a little cockled, mounted to thick card.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"[INDIAN MINIATURE PAINTING]. [LAHARWI, Abd Al Hamid].","offers":[{"title":"Default Title","offer_id":55956369506679,"sku":"114054","price":8750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114054.jpg?v=1780918704"},{"product_id":"indian-miniature-murshidabad-mughal-119661","title":"[The Prince Encounters a Village Girl at a Well],","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eScenes painted around imagined amorous encounters between the 'prince and village girl' were popular among artists during the late Mughal period in centres such as Delhi, Lucknow, and Murshidabad. The concept of 'love at first sight' was similarly echoed in the tradition of the courtly poets of the pan-European middle ages and can be seen echoed through their visual arts.\u003cbr\u003e\u003cbr\u003eThe inspiration behind the theme in this painting was likely rooted in Persian literary sources, the Nayrang'i Eshq (The Charm of Love) by Mughal Sufi poet Ghanimat Kunjahi (d. 1695 AD), being one such example. Written during a period of considerable Muslim-Hindu cultural interaction, the poem was later absorbed into Sanskrit works and grew further in popularity. One notable section of the poem (stanza 40.7) describes how in pursuit of a stag, Shahid comes upon a village where he is struck by the sight of village girls at a well and is particularly struck by the beauty of Wafa, the daughter of the village headsman (see C. Shackle, Persian Poetry and Qādirī Sufism in Later Mughal India: Ghanīmat Kunjāhī and his Mathnawī-yi Nayrang-i 'ishq, in The Heritage of Sufism: Volume 3, Late Classical Persianate Sufism, Boston, 1999). \u003cbr\u003e\u003cbr\u003eIn this painting, a beautiful maiden leans across to offer the handsome stranger a drink from the well. Neither appears abashed, and their eyes fix upon each other as if a spell has been cast. Of note is the way their hands come together around the vessel of water, though they do not touch. The mono green background gives a prominence to this encounter, watched by the other village girls. There are subtle details that give context to the scene – the stranger's courtly attire and jewelled ruby dagger. His companion's falcon hints at their noble status. By contrast, the village girl's sari is tied in the style of a working women as she draws water from the well. For notable examples, see Indian Painting 1600–1870 (Oliver Forge \u0026amp; Brendon Lynch, New York, 2012) and Painting 91 in Domains of Wonder (B.N Goswamy \u0026amp; C. Smith, 2006).\u003cbr\u003e\u003cbr\u003eSingle miniature painting on card, opaque pigments with gold, depicting a scene with a Prince on horseback accepting a drink from a gold vessel from a village maiden, miniature 282 x 179 mm, full album page 394 x 255 mm; painting framed within multiple gilt rulings, innermost frame painted with delicate pink and white flowers on a spiralling green vine set against a richly gilt background, some very minor surface soiling, overall in exceptionally bright and attractive condition, framed and glazed.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"[INDIAN MINIATURE PAINTING].","offers":[{"title":"Default Title","offer_id":56139472863607,"sku":"119661","price":18750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119661.jpg?v=1780915891"},{"product_id":"gamy-montaut-grand-prix-1912-pochoir-89422","title":"GRAND PRIX DE L' A.C.F. - 1912.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe symbiotic relationship between prestigious motor sports and technological advances in engineering, with the concomitant potential for mutual publicity, which are so familiar today, clearly date back to these formative years. Georges Boillot (1884-1916) is depicted taking the lead the French Grand Prix in Dieppe, in 1912, which he went on to win. He was driving the legendary Peugeot L76, powered by the first motor ever to to have double overhead camshafts and 4 valves per cylinder, still seen recognised as key elements of higher performing engines today. \u003cbr\u003e\u003cbr\u003eBoillot was in the same team as Jules Goux, who is depicted winning the Indianapolis 500, in 1913, in another print in this Gamy-Montaut series. It was during that race in 1914, that Boillot came within a whisker of breaking the 100mph barrier, recording a speed of 99.86mph. He was to retire after the next French Grand Prix later that year. He saw service during WW1, first using his driving skills to take the commander-in-chief, General Joffre, at high speed to meetings along the front, before seeking more excitement as a pilot. He bacame a flying ace, winning the Croix de Guerre and Legion d'Honneur, before being shot down and killed in 1916.\u003cbr\u003e\u003cbr\u003eErnest Montaut (1878-1909) was an innovative French poster designer whose all-too-short career captured the exhilarating new world of motorised transport, whether in the air, on the water, or especially at high speed on the ground. He introduced the stylistic conceits of close horizontal lines and forward-leaning perspective in his vehicles, for instance, to exaggerate the sense of rapid motion. This period from the mid-1890s saw not only the rapid evolution of the motor car, but also the application of the internal combustion engine to boat design, as well as being fundamental in making possible the whole new concept of powered flight. \u003cbr\u003e\u003cbr\u003eMontaut was joined in this endeavour by his wife, Marguerite (1883-1936), who expanding the range of earlier motoring posters to include aviation. She occasionally signed herself as M. Montaut, but more often as Gamy, an anagram of her familiar name, Magy. Following her husband's untimely death at the age of only 31, Marguerite continued their good work in the same distinctive and highly appealing style. This centred on the bold flat colours of the pochoir printing technique they mastered so well. Outlines and any text were printed lithographically, then corresponding stencils carefully prepared to allow in-filling by hand in watercolour and gouache, employing a number of artists for the purpose, leading to subtle variations in colour in each painstaking example, often taking days to complete. It is this combination of factors that gives these highly attractive prints their superlative quality.\u003cbr\u003e\u003cbr\u003eHand-coloured pochoir print, 47 x 91 cm., signed Gamy, laid on board.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"MONTAUT, Ernest \u0026 GAMY [Marguerite].","offers":[{"title":"Default Title","offer_id":56378957300087,"sku":"89422","price":850.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/89422.jpg?v=1780914344"},{"product_id":"lord-christhoper-thynne-the-beatles-george-harrison-claire-chivers-105288","title":"George Harrison and Claire Chivers in the Garrison Room at Les Ambassadeurs Club, Mayfair.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003e\u003cbr\u003e\u003cbr\u003eOriginal silver gelatin print on Ilford Multigrade fibre base 255 gsm paper, numbered in black pen to verso from the edition of 35, artist's name blindstamp lower right, publisher's blindstamp lower left. London: S H Editions, 17 April 1964 \/ 2021. \u003cbr\u003eLarge size: 61 x 50.5 cm. Framing option available.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"THYNNE, Lord Christopher","offers":[{"title":"Default Title","offer_id":56568023417207,"sku":"105288","price":562.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/105288_d0db03f5-88d8-48ff-99c1-24365f25bb7f.jpg?v=1780917994"},{"product_id":"thynne-george-harrison-signing-book-the-beatles-105301","title":"George Harrison signing a book in the walled garden of Les Ambassadeurs Club, Mayfair.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003e\u003cbr\u003e\u003cbr\u003eOriginal silver gelatin print on Ilford Multigrade fibre base 255 gsm paper, numbered in black pen to verso from the edition of 35, artist's name blindstamp lower right, publisher's blindstamp lower left. London: S H Editions, 17 April 1964 \/ 2021 \u003cbr\u003eLarge size: 61 x 50.5 cm. Framing option available.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"THYNNE, Lord Christopher","offers":[{"title":"Default Title","offer_id":56568023482743,"sku":"105301","price":562.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/105301_aa3fa6fb-8ef2-4994-bb51-97c5e40af984.jpg?v=1780921973"},{"product_id":"thynne-paul-mccartney-smoking-the-beatles-105297","title":"Paul McCartney smoking at Marylebone Station.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003e\u003cbr\u003e\u003cbr\u003eOriginal silver gelatin print on Ilford Multigrade fibre base 255 gsm paper, numbered in black pen to verso from the edition of 35, artist's name blindstamp lower right, publisher's blindstamp lower left. London: S H Editions, 5 April 1964 \/ 2021 \u003cbr\u003eLarge size: 61 x 50.5 cm. Framing option available.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"THYNNE, Lord Christopher","offers":[{"title":"Default Title","offer_id":56568023548279,"sku":"105297","price":562.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/105297_42438267-dc12-4664-b5d9-fd5d2d88dfcf.jpg?v=1780921975"},{"product_id":"thynne-ringo-starr-the-beatles-les-ambassadeurs-club-105294","title":"Ringo Starr in the Garrison Room at Les Ambassadeurs Club, Mayfair.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003e\u003cbr\u003e\u003cbr\u003eOriginal silver gelatin print on Ilford Multigrade fibre base 255 gsm paper, numbered in black pen to verso from the edition of 35, artist's name blindstamp lower right, publisher's blindstamp lower left. London: S H Editions, 17 April 1964 \/ 2021 \u003cbr\u003eLarge size: 61 x 50.5 cm. Framing option available.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"THYNNE, Lord Christopher","offers":[{"title":"Default Title","offer_id":56568023581047,"sku":"105294","price":562.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/105294_cce4453d-5752-44b1-bb5b-ce7018f59228.jpg?v=1780921979"},{"product_id":"chinese-school-sanguo-yanyi-a-pair-of-reverse-paintings-on-glass-1880-romance-of-the-three-kingdoms-warriors-guan-yu-zhang-fei-liu-bei-han-dinasty-oath-of-the-peach-garden-chinese-temple-86380","title":"Sanguo Yanyi: a Pair of Reverse Paintings on Glass.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eStill in their original frame, this pair of finely painted pictures depict scenes from the 14th century epic \"Sanguo Yanyi\" (\"Romance of the Three Kingdoms\"). The scenes feature the formidable warriors Guan Yu, Zhang Fei, and Liu Bei, who took an oath of fraternity and swore allegiance to the Han Dynasty in the celebrated \"Oath of the Peach Garden\". The most famous of the three, the red-faced Guan Yu, is still worshipped as a guardian deity in many Chinese temples.\u003cbr\u003e\u003cbr\u003eDimensions: 34.5 x 49.5 cm (image); 46.5 x 61.5 cm (with frame).\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"[CHINESE SCHOOL.","offers":[{"title":"Default Title","offer_id":56797282206071,"sku":"86380","price":6500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/86380.jpg?v=1772047177"},{"product_id":"hildebrandt-edward-pirate-street-hong-kong-1865-86611","title":"Pirate Street, Hong Kong.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFine atmospheric oil of a narrow stepped street in Hong Kong, a version of which was published as plate 116 of the grand portfolio depicting his world travels.\u003cbr\u003eEduard Hildebrandt was born in Danzig in 1817, he studied with the marine artist Wilhelm Krause, and with Eugene Isabey in Paris, winning three medals at the Paris salon in 1843. On his return to Berlin, his talent as a landscape painter attracted the attention of Alexander von Humboldt, who recommended him to the Prussian king, Friedrich Wilhelm IV. As a result he was made Painter to the Royal Court, and was supported in his subsequent extensive, and expensive, travels. Between 1844 and 1851 he travelled throughout the Americas, Europe and the Levant and in 1862-4 his Reise um die Erde (Journey round the World) took him from Trieste through Suez to India, and on to Siam (Thailand), Macao, Hong Kong, China, The Philippines, Japan, the Pacific and back via California and Central America. The original watercolors from the voyage were exhibited in London in 1866 and at an exhibition at Crystal Palace in 1868, just a year before his death in Berlin.\u003cbr\u003e\u003cbr\u003eOil on canvas (370 260 mm). In later gilt carved wood frame. Inscribed \"Hong Kong\" lower left.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"HILDEBRANDT, Edward.","offers":[{"title":"Default Title","offer_id":56797348692343,"sku":"86611","price":12500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/86611.jpg?v=1772047280"},{"product_id":"vrients-jan-baptist-antverpia-totius-inferiorisae-primaria-urbs-1652-86789","title":"Antverpia Totius Inferiorisæ Primaria Urbs","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eA rare and finely engraved prospect of Antwerp viewed from the Scheldt, first published by Vrients in 1610, under a privilege issued by Albert and Isabella, Archduke and Archduchess of Austria, governors of the Austrian Netherlands. The plates later came into the hands of the Visscher family, and were reprinted by Claes Jansz. Visscher the younger, presumably Nicolaas Visscher I. This is, apparently, one of three recorded examples with the Visscher imprint. The text outside the lower border comprises a history and description of Antwerp, in Dutch, French and Latin.\u003cbr\u003e\u003cbr\u003eLarge engraved panorama, on 4 sheets joined,  including the woodcut running title in 6 sections pasted above, 3 panels of descriptive letterpress text composed of 6 half-sheets pasted outside the lower border, contemporary wash colouring; previously laid on canvas, some restoration with manuscript reinstatement and retouching, relaid on a modern board backing, with stretchers, the title wrongly reassembled after restoration, should be: \"Antverpia totius Inferioris Germaniæ nobilissima et ducatus Brabantiæ primaria urbs\". Overall dimensions: 77.5  x 240 cm. Framed and glazed.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eHolstein Dutch Engravings XLIX, 61 (II).\u003c\/i\u003e","brand":"VRIENTS, Jan Baptist.","offers":[{"title":"Default Title","offer_id":56797425467767,"sku":"86789","price":25000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/86789.jpg?v=1772047441"},{"product_id":"117173","title":"The White Lily.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eRobert John Thornton (?1786-1837) was a prolific medical author and became a Doctor of Medicine at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the sexual system of...Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle.\u003cbr\u003e\u003cbr\u003eThese botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat of the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time. A brilliant effect.\u003cbr\u003e\u003cbr\u003eAquatint and mezzotint, printed in colour and finished by hand, from The Temple of Flora. Paper size: 55.5 cm x 46.5 cm, mounted: 64 cm x 53cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eNissen Blunt, p236-242; Dunthorne, Alan Thomas, Great Books and Book Collectors, page 144.\u003c\/i\u003e","brand":"THORNTON, Robert John (publisher).","offers":[{"title":"Default Title","offer_id":56879287075191,"sku":"117173","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117173.jpg?v=1780909552"},{"product_id":"117193","title":"Large Flowering Sensitive Plant.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eRobert John Thornton (?1786-1837) was a prolific medical author and became a Doctor of Medicine at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the sexual system of...Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle.\u003cbr\u003e\u003cbr\u003eThese botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat of the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time. A brilliant effect.\u003cbr\u003e\u003cbr\u003eAquatint and mezzotint, printed in colour and finished by hand, second state, from The Temple of Flora. Paper size: 55.5 cm x 46.5 cm, mounted: 64 cm x 53cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eNissen Blunt, p236-242; Dunthorne, Alan Thomas, Great Books and Book Collectors, page 144.\u003c\/i\u003e","brand":"THORNTON, Robert John (publisher).","offers":[{"title":"Default Title","offer_id":56879287271799,"sku":"117193","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/117193.jpg?v=1780909554"},{"product_id":"119461","title":"Le Ski.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eErnest Montaut (1878-1909) was an innovative French poster designer whose all-too-short career captured the exhilarating new world of motorised transport, whether in the air, on the water, or especially at high speed on the ground. He introduced the stylistic conceits of close horizontal lines and forward-leaning perspective in his vehicles, for instance, to exaggerate the sense of rapid motion. This period from the mid-1890s saw not only the rapid evolution of the motor car, but also the application of the internal combustion engine to boat design, as well as being fundamental in making possible the whole new concept of powered flight. \u003cbr\u003e\u003cbr\u003eMontaut was joined in this endeavour by his wife, Marguerite (1883-1936), who expanding the range of earlier motoring posters to include aviation. She occasionally signed herself as M. Montaut, but more often as Gamy, an anagram of her familiar name, Magy. Following her husband's untimely death at the age of only 31, Marguerite continued their good work in the same distinctive and highly appealing style. This centred on the bold flat colours of the pochoir printing technique they mastered so well. Outlines and any text were printed lithographically, then corresponding stencils carefully prepared to allow in-filling by hand in watercolour and gouache, employing a number of artists for the purpose, leading to subtle variations in colour in each painstaking example, often taking days to complete. It is this combination of factors that gives these highly attractive prints their superlative quality.\u003cbr\u003e\u003cbr\u003eHand-coloured pochoir print depicting a woman cross-country skiing, paper size: 45 x 90 cm. Framed and glazed, overall size: 49.3 x 93.5 cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"GAMY \u0026 MONTAUT, Ernest.","offers":[{"title":"Default Title","offer_id":56893202891127,"sku":"119461","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/119461.jpg?v=1780909726"},{"product_id":"lord-christopher-thynne-the-beatles-john-lennon-at-marylebone-station-105289","title":"John Lennon at Marylebone Station.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003e\u003cbr\u003e\u003cbr\u003eOriginal silver gelatin print on Ilford Multigrade fibre base 255 gsm paper, numbered in black pen to verso from the edition of 35, artist's name blindstamp lower right, publisher's blindstamp lower left. London: S H Editions, 17 April 1964 \/ 2021. Large size: 61 x 50.5 cm. Framing option available.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"THYNNE, Lord Christopher.","offers":[{"title":"Default Title","offer_id":56938765353335,"sku":"105289","price":562.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/105289.jpg?v=1780917995"},{"product_id":"116776","title":"Group of Six Wedgewood Ceramics","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFrom Old Wedgewood, the Decorative or Artistic Ceramic Work, in Colour and Relief, invented and produced by Josiah Wedgewood, at Etruria, in Staffordshire, 1760-1794. The author of this work was a famous ceramic dealer who travelled all over the world collecting Wedgewood. \u003cbr\u003e\u003cbr\u003eJosiah Wedgwood FRS (1730-1795) was an English potter, entrepreneur and abolitionist. Founding the Wedgwood company in 1759, he developed improved pottery bodies by systematic experimentation, and was the leader in the industrialisation of the manufacture of European pottery.\u003cbr\u003e\u003cbr\u003eSix original chromolithographs by W. Griggs; sheet size: 50.5cm x 38cm; framed and glazed, overall size: 65 x 52 cm x 1.5cm.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003c\/i\u003e","brand":"RATHBONE, Frederick.","offers":[{"title":"Default Title","offer_id":56946837619063,"sku":"116776","price":5500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/116776_c2a3a4e1-d2ac-434f-98d1-fdcca5171486.jpg?v=1780909474"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/collections\/Decorative_Masterpieces_e0ed47fa-7ca4-49fb-852e-f6b80a158b00.png?v=1777467565","url":"https:\/\/shapero.com\/collections\/decorative-masterpieces.oembed","provider":"Shapero Rare Books","version":"1.0","type":"link"}