After Petrus van Schendel

Petrus Van Schendel (school), oil on panel, School of Petrus van Schendel (Belgian, 1806-1870), Night Market, oil on cradled panel, no signature observed, metal artist tag on frame, 19"h x 16"w (panel

Attributed to: Petrus Van Schendel (Dutch, 1806-1870) Titled: “Night Market Meat Seller” Medium: Oil on Panel Image Size: 15” H x 18” w, signed: P. Van Schendel - Lower bottom Right, Framed: I

[Bible]. Petrus van der Borcht, illustrator. Bybelsche Figuren. Vertonede devoorna

Petrus van der Velden (Dutch b.1837 -1913) oil on board of two Dutch Village Scenes in winter. Known for small paintings of Dutch Village Life. Painting size 10 H x 12 W inches.

Iusti Lipsi Poliorceticon Siue de Machinis. Tormentis. Telis. Libri Quinque. Ad Historiarum lucem. Leipzig: Officina Plantiniana, presso Vidia e Giovanni Moreto, 1596. by Justus Lipsius, Petrus van de

Signed 20th C. American Landscape oil/canvas. Signed lower center 'Van Schendel'. Sight Size: 24 x 36 inches.

DESCRIPTION: An original signed seascape impasto oil painting on canvas depicting a maritime scene with several seagulls, and ocean waves crashing on the rocks. Framed and signed "Van Schendel". With

European Landscape With Cows And Windmills, Oil On Canvas, Signed Jacobus Petrus Cornelis Van Os. As Framed Approximately 39.5W x 31.75H x 3.375D in. Sight Approximately 30.75W x 23.0H in.

Still life with flowers Oil on canvas 24 x 29.5 in. (approx) Showing flowers in an urn Signed "S. Van Petrus / Brussel" lower left - w. 32.25 x h. 37.25 in. (frame) Provenance: Items from the private

Guinea (under heading: Descriptio Gvineæ.) By Petrus Kerius Pieter van der Keere For atlas of Petrus Bertius (Pieter de Bert), Amsterdam, 1618 , page 652. 9 cm x 13 cm Watermarked paper. Small fa

Van Velzen, Johannes Petrus (Dutch, 1816-1853). A winter landscape. Oil on canvas. Signed l.r. Frame: 30 3/4" x 35 1/2"

De Republica Hebraeorum

Copper engraving, Petrus de Iode, after Anthonius Van Dyck (1599-1641), by Lucas Emil Vorsterman I (1595-1675). Very fine impression. Some slight foxing in margin. Sheet Size: 11 1/4 x 8 1/8 inches. U

Italy, 17th century. An engraving of Petrus Adriani Werfius by Pieter Adriaansz van der Werft dating to the mid 1600s. Overall good condition; pasted on paper from the left margin.

Antique Dutch map Ditio Trans-Isulana. Drenthe/Friesland. By Petrus Kaerius, 1612. 1570 - 1630. Pieter van der Keere. Hand colored. Engraving on paper. Dimensions: H 42 x W 53 cm. In good condition.

17th C. Print of Van Dyke Painting of Inventor Petrus de Jode, Junior. Professionally framed. Measures 20"h x 16"w.

(Disneyland, .1969-70s) An original hand-painted stretching portrait on canvas used within Disneyland's Haunted Mansion attraction. As the elevator descends, the portraits would "stretch" to reveal th

(Disneyland, 1969) An original hand-painted on canvas "stretching portrait" used within Disneyland's "Haunted Mansion" attraction. As the elevator descends, the portraits would "stretch" to reveal the

Richter, GerhardElisabeth I. 1966. Offset in Blaugrau (versetzt gedruckt) auf weißem Halbkarton. 70 x 59,5 cm (70 x 59,5 cm). Signiert und datiert. Verso zusätzlich signiert und nummeriert.

(Disneyland, 1971) Perhaps the most famous attraction throughout the world, "It’s A Small World” is featured at all of the Walt Disney Company's parks, with the exception of Shanghai Disneyland. T

(Disney, 1950) A stunning original concept painting by Color Stylist Mary Blair. The painting features Blair's vision for the iconic Mad Tea Party scene with Alice, the Mad Hatter, the March Hare, and

(Disneyland, 1969-1970's) A ride-used pop-up ghoul head from the original Haunted Mansion at Disneyland. As Doom Buggies pass through the graveyard gates and pass eerie singing busts, this ghoul and h

(Disney, 1953) An original concept painting by Color Stylist Mary Blair for Walt Disney's "Peter Pan." Depicted here is Blair's colorful and vibrant vision of Peter Pan, Tinkerbell, and the Darling ch

(Disney, 1950) An original concept painting by Color Stylist Mary Blair for Cinderella. Although she had worked for the Studio since the 1940s, it was the 1950s that brough Mary Blair to the forefront