1770s More Art

"Ypres, Grand Ville Riche & Marchande" is an engraving and etching by Daniel Marot (le Vieux) (1661–1752). It depicts a view of the siege of the city of Ypres and its citadel on the left in the Spanish Netherlands by Louis XIV's troops. This battle took place between March 18 and March 25, 1678, as part of the Franco-Dutch War. Marot illustrated in great detail (best appreciated with magnification) the French attack on the strong pentagonal citadel on the extreme left, which had been built recently in anticipation of a French attack. The trenches built by the French approaching the town are seen on the right. King Louis XIV can be seen in the foreground surveying the battle mounted on his white horse, surrounded by his officers and troops. The print is presented in an attractive ornate black wood frame with a cream-colored double mat with a black inner trim. It is glazed with plexiglas. The frame measures 25.38" x 22.63" x .88". The engraving, frame, mat and glazing are in excellent condition. Artist: Daniel Marot (1661–1752) was also called "Le Vieux". He was the son of the famous architect, Jean Marot. Marot had diverse interests and talents. In addition to his art, he designed garden projects, architectural ornaments, furniture, and even upholstery. Marot as a Huguenot protestant was forced to leave France in 1685 following the revocation of the Edict of Nantes. He emigrated to Holland, where he worked for William of Orange (an arch enemy of his former employer Louis XIV). Marot was largely responsible for the interiors of Williams palace at the Loo. In 1694 he went Britain as William had married Queen Mary and he had become King William III of England. He later returned to Holland in about 1698 and died in the Hague in 1752. He left a lasting legacy on the decorative arts in the Netherlands, where his grand version of the Louis XIV style remained popular into the 1730s. Historical Background: In October 1677, Mary Stuart, niece and possible successor of Charles II of England, married Louis XIV's arch enemy William III of Orange...

"Guardian Angel" late 19th c. Original hand-painted KPM Porcelain In Jewel Encrusted Frame approx. 6 3/8 x 5 inches

Alexander Calder Les Vagues, 1975 Signed and Numbered 29 (on a label affixed to the reverse) Handwoven Aubusson wool tapestry 40 1/2 x 59 inches Edition 29/200 Provenance Truist Ban...

The four plates in this "Four Times of the Day" set were created utilizing both engraving and etching techniques by William Hogarth in 1738. Hogarth's original copper plates were refurbished where needed by James Heath and these engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's original copper plates were used for printing. Most were melted down during World War I for the construction of bombs. Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. The inscription below each print reads "Invented Painted & Engraved by Wm. Hogarth & Publish'd March 25. 1738 according to Act of Parliament". These large folio sized "Four Times of the Day" engravings/etchings are presented in complex gold-colored wood frames with black bands and scalloped gold inner trim. A majority of each thick impressive frame is covered with glass applied near the outer edge. Each frame measures 25.75" high, 22.25" wide and 1.88" deep. There are a few small dents in the edge of these frames, which are otherwise in very good condition. "Morning" has two focal areas of discoloration in the upper margin and some discoloration in the right margin, a short tear in the left margin and a short tear or crease in the right margin. "Noon" has a spot in the upper margin that extends into the upper image, but it is otherwise in very good condition. "Evening" has a faint spot in the upper margin, but it is otherwise in very good condition. "Night" is in excellent condition. The "Four Times of the Day" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Victoria and Albert Museum. Through this series Hogarth is portraying early 18th century London street life at "Four Times of the Day". His characters are exhibiting their personalities, quircks, strange activities, but he also wants to draw attention the disparities between the wealthy aristocracy and the common working class. Plate 1, "Morning" depicts morning in Covent Garden in the winter in front of Tom King...

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A weathered yellow cottage with a red roof stands alone on the prairie, surrounded by wildflowers and a rustic fence. Dark clouds gather overhead, adding a se...

The Broad x YAYOI KUSAMA The Souls of Millions of Light Years Away (Infinity Mirror) Skate Deck, 2013 Limited edition skateboard. Signed on the deck and numbered 31 × 8 inches Limite...

Sterling Ruby (American, b. 1972) 2015 CHINATI FLAG (DNM) Tag printed with SR STUDIO LA CA printed with handwritten edition number Ed # 88/100 Hand signed "Sterling Ruby" in black pe...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. In Perched #3, Elizabeth Rickert focuses on a single bird resting gracefully atop a stack of timeworn books, creating a moment of quiet observation. Painted in oil on canvas, the artwork combines the precision of wildlife realism with the calm structure of a traditional still-life composition. The bird appears alert yet relaxed, its presence bringing a sense of gentle movement to the otherwise still arrangement. Rickert’s brushwork carefully captures the fine details of the bird’s plumage and the textures of the aged book covers beneath it. Each book feels tactile and familiar, their worn edges and subtle lettering suggesting years of stories and history. The simplicity of the composition allows the viewer to focus on the delicate balance between subject and setting. The colour palette is warm and earthy, with soft reds, mossy greens, muted blues and warm ochres appearing throughout the stacked books. The bird’s feathers introduce striking accents of dark charcoal and glowing orange, providing a vivid focal point within the otherwise calm composition. Executed in oil on canvas, this original artwork highlights Elizabeth Rickert’s talent for combining wildlife realism with intimate storytelling. This original work is available for sale at Signet Contemporary Art and online. Artist Biography: Elizabeth Rickert is an award-winning contemporary realist artist based in the United States whose work is inspired by the quiet poetry of the natural world. Originally trained as a sculptor, she began her artistic career working in ceramics before expanding into drawing and painting. Over time, she explored pastels and eventually transitioned to oil painting, which has become her primary medium. Elizabeth’s background in sculpture continues to influence her artistic approach. Even as a painter, she observes nature with a sculptor’s eye—carefully studying the interplay of shape, form, light, and shadow. This sensitivity to structure and atmosphere is reflected in her compositions, which often feature detailed impressions of birds...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Royal Hospital att Greenwich to the River" (Vol. 1, Plates 86, 87) Portfolio: Vitruvius Britannicus; or The British Architect, Co...

This finely detailed landscape of a stone wall and field beneath Mount Monadnock in New Hampshire on a warm summer afternoon was painted by contemporar...

"Veduta del Sepolcro della Famiglia Plauzia per la Strada Che Conduce da Roma a Tivoli vicino a Ponte Lugano" from "Le Antichità Romane" (Roman Antiquities), one of the most famous works by Piranesi. "Antichita" illustrates the tombs along the Appian Way...

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A euphoric winter night sky stretches across the scene, revealing the vastness and beauty of space. Glowing clouds break through the darkness, offering a sens...