{"title":"Thanksgiving","description":"\u003cp\u003eLeyendecker's Pilgrim couple with a musket and an armful of corn, Winslow Homer's family round the Thanksgiving table, Will Bradley's women in billowing red carrying heaped trays of fruit, Audubon's wild turkey among the canes, Brownscombe's Pilgrims sharing a meal, and the Puck and Harper's covers that announced the holiday each November. Harvest, turkeys and the table set for company. All chosen by hand, with free shipping and import duties included.\u003c\/p\u003e","products":[{"product_id":"theo-van-hoytema-two-white-turkeys-with-holly-branches-in-the-snow-art-nouveau-print","title":"Theo van Hoytema — Two White Turkeys with Holly Branches in the Snow | Art Nouveau Print","description":"\u003cp\u003eTwo white turkeys stand close together. The bird behind spreads its tail into a broad white fan, its bare head and wattle a raw scarlet, warty and loose-skinned. The second bends its head down to the left, scarlet-headed too, its plumage drawn in fine white line over the dark ground and its scaly feet planted at the front. Dark holly leaves and glossy red berries crowd the lower left, snow sits in heavy pads on the branches to the left, and the signature and the date 97 are printed at the foot.\u003c\/p\u003e\u003cp\u003eTheo van Hoytema (1863–1917) was a Dutch painter and lithographer known for his work with birds. Born in The Hague, he studied at the Academy of Fine Arts there, illustrated scientific works at the Zoological Museum in Leiden, and turned to colour lithography around 1890. His 1893 edition of Hans Christian Andersen's The Ugly Duckling, printed in his own soft, patterned lithographs, made his name, and from 1902 until his death he produced yearly calendars of swans, peacocks and other birds. His work is held by the Rijksmuseum, the Kunstmuseum Den Haag and Museum Boijmans Van Beuningen.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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His synthetist style shaped the Nabis, Fauvism and Expressionism; in recent decades historians and museums have reassessed him for this sexual exploitation of Polynesian girls and for the colonial fantasy of Tahiti his work helped build. His paintings are held by the Musée d'Orsay, the Museum of Fine Arts, Boston and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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A turkey stands at left with its back to us, dark plumage banded with cream at the tail and its red-wattled head turned to the right. A white crested hen bends over her chicks beside it, and a peacock with a green-blue neck and bronze wings stands tall near a brown peahen on a broken block. Black, yellow and russet chicks peck at the sandy ground, with tall trees and a cloudy blue sky behind.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 134 × 174.5 cm, Rijksmuseum, Amsterdam.\u003c\/p\u003e\u003cp\u003eMelchior d'Hondecoeter (c. 1636–1695) was a Dutch painter of birds. Born in Utrecht into a family of painters, the grandson of Gillis and son of Gijsbert d'Hondecoeter, he worked in The Hague, where he joined the painters' society Confrerie Pictura in 1659, and later in Amsterdam. After early pictures of fish he turned almost entirely to birds, painting poultry, game and exotic species such as peacocks, cranes and cockatoos as living creatures in park-like settings, full of movement and squabbles. His Jackdaw Deprived of His Borrowed Plumes (1671) is in the Mauritshuis in The Hague, and other works are in Amsterdam and the Wallace Collection in London.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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At centre a white-haired man with spectacles above his brow carves a roast on a long dish, a man in a dark coat pours wine behind the diners, and a woman at right brings a covered platter. Men, women and children sit at two tables, one man lifting a napkin to his face. Framed pictures and a round medallion of two children's heads hang on the walls, a clock stands on the mantel, and the title is printed below.\u003c\/p\u003e\u003cp\u003eThe original: wood engraving, image 17.5 × 23.5 cm, published in Harper's Weekly, 27 November 1858, The Metropolitan Museum of Art, New York.\u003c\/p\u003e\u003cp\u003eWinslow Homer (1836–1910) was an American painter regarded as one of the foremost artists of nineteenth-century America. He began as a magazine illustrator during the Civil War, producing wood engravings of camp and battlefield life for Harper's Weekly, then turned increasingly to oil and watercolor; his early oil Home, Sweet Home (1863) is now in the National Gallery of Art. From the 1880s he painted the sea itself, in works such as The Fog Warning (1885), now in the Museum of Fine Arts, Boston, and The Gulf Stream (1899), now in the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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