18th Century and Earlier Interior Prints

Etching on cream laid paper mounted to a cream laid paper support, 9 x 12 7/8 inches (230 x 327 mm), thread margins. Three small areas of light skinning with one extremely small hole...

Screenprint in colours with embossing and collage of gloss copper and mat pink metallic foil, 1976, on Rives BFK paper, signed and dated in pencil, numbered from edition of 30 (there...

Anthony of Padua or Anthony of Lisbon born Fernando Martins de Bulhoes 15 August 1195 – 13 June 1231) was a Portuguese Catholic priest and friar of the Franciscan Order. He was born and raised by a wealthy family in Lisbon, Portugal, and died in Padua, Italy. Noted by his contemporaries for his powerful preaching, expert knowledge of scripture, and undying love and devotion to the poor and the sick, he was one of the most quickly canonized saints in church history, being canonized less than a year after his death. He was proclaimed a Doctor of the Church by Pope Pius XII...

Beautifully-detailed French antique copper engraving showing the architectural details of a portico from Recueil d'Architecture, 1780. Original ...

Fine Art Print Hahnemuehle, edition, Giovanni Battista Piranesi print in Verlag von Ad Lehmann in Wien, end of 19 Century.

Japan: circa 1770. Woodcut on cream laid paper, 7 1/4 x 2 1/2 inches (182 x 63 mm), narrow margins. Laid down to non-archival board with scattered soiling and some adhesive staining...

Artists: Raffaello Sanzio d’Urbino.(1483 – 1520) Gateano Savorelli, artist. (unk.- 1791) Ludovico Teseo, draughtsman. (1731-1782) Pietro Camporesi, architect (1726 - 1781) Giovanni Ottoviani (1735-1808) & Giovanni Volpato (1735 – 1803), engravers Title: Delle Logge di Rafaele nel Vaticano, Plate X (10) Year: 1772-1777 Medium: Hand-colored copperplate engraving Sight size: 42 x 16 inches. Framed size: 55.5 x 28.5 inches Condition: Very good Frame: Frame in very good condition A tall and incredibly detailed printed panel, “Delle Logge di Rafaele nel Vaticano” (“Raphael Loggia...

Ruine di Sepolcro antico Etching, 1743 Signed in the plate bottomleft in the caaption plate From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Coniditon: Excellent/Very good Image size: 14 5/8 x 9 3/4 inches Reference: Robison 17 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

Copper-line engraving. C1768. Delafosse was a French decorative designer, engraver and architect. Apprenticed for a time to a sculptor, by 1767 he styled himself an 'architect and professor of design'. He published the first volume of his most important work, Nouvelle Iconologie Historique in 1768, containing 110 plates of his designs for furniture, decorative arts and architectural...

'Différentes Especes de Buffets et Leurs Developments' (Different types of buffet and their formation) French copper-line engraving by PL Cor after Andre Jacob Roubo (1739–1791). 18...

This is a 17th century engraving entitled "Messire Nicolas Lambert Seigneur de Thorigny, Conseiller du Roy" by Pierre Drevet after a painting by Noicolas de Largillière, published in Paris in 1698. This portrait depicts a three-quarter length view of Nicolas Lambert de Thorigny, who is dressed in elaborate robes and collar of a wealthy Parisian nobleman of the time. He is seated directed to the left and looking directly at the viewer. He is holding an inscribed note in his right hand. A magnificent billowing curtain is in the background. Lambert's coat of arms is shown in the center of the lower inscription area. In the inscription area is lettered with title, production detail: "Nic. Largilliere pinxit" and "Petr. Drevet sculpsit", and publication detail: "Se vend a Paris chez Drevet rüe du Foin au coin du College de Maître Gervais". Nicolas Lambert, Seigneur de Thorigny (1600-1664), was a French nobleman and military commander who lived in the 17th century. He served in the French army during the Thirty Years' War, a conflict that took place from 1618 to 1648 and involved many European powers. Lambert fought in several battles during the war and rose to the rank of colonel. After the war, Lambert returned to France and became involved in politics. He served as a member of the Estates General, a legislative body that advised the king, and as a governor of several provinces. He was a counsellor and confidant of King Louis XIV. He had the title of Président de la Chambre des Comptes. He also became a member of the French Academy of Sciences, a prestigious institution that promotes scientific research and scholarship. Lambert was known for his military expertise, his intelligence, and his commitment to public service. He iInherited the Hôtel Lambert in Paris from his brother Jean Baptiste in 1644 and hired some of the most prominent artists of the time, including Charles Le Brun to decorate and furnish the building. This beautiful old master engraving was created with impressive detailed technique. It is printed on laid, chain-linked paper. The sheet measures 18.5" high and 13.38" wide. The sheet is adhered to an archival backing paper at the top. There is a faint horizontal center fold and mild discoloration in the inscription area and in the upper margin on the right, with mild wrinkling here. The print is otherwise in very good condition, considering its age. This engraving is so rare, that no comparable prints could be identified for sale online. It is currently only listed in museum collections, including: The Metropolitan Museum of Art, The British Museum, The Louvre, The Riksmuseum, The Victoria & Albert Museum, The Fitzwilliam Museum at the U. of Cambridge, The Boston Museum of Fine Arts, Harvard Art Museums, The Finnish National Museum, The Philadelphia Museum. It is shown in the Metropolitan Museum's Cataloque of French paintings entitled: "French Paintings in The Metropolitan Museum of Art, published in 2018, page 36. The page is included in the photos. Nicolas de Largillière (1656-1746) was a French portrait painter who achieved great success and acclaim during the late Baroque and Rococo periods. He was born in Paris and trained under the painter Antoine Goubeau. He studied in Antwerp and London before returning to France. While in England he was a favorite painter of King Charles II and King James II of England...

"The Heidelberg Tun" is a 17th century engraving by an unknown artist. It depicts a famous huge ornamental wine cask that resided in the wine cellar of Heidelberg Castle. The cask shown here, built in 1664, is the second of four Heidelberg Tuns; the first was destroyed during the Thirty Years' War, between 1618 and 1648. This cask was built in 1664 when Karl Ludwig ordered Heidelberg cellar master...

Antique Architectural engraving of the floor plan of the Santo Spirito Palace located in Florence, Italy by Italian, Giacomo Rossi, 16...

Allegory of the four seasons. A pair of engravings. These engravings are framed in white gold covered french frames. From the publication published in Milan in 1782. "Different ornam...

Copper-line engraving. C1768. Delafosse was a French decorative designer, engraver and architect. Apprenticed for a time to a sculptor, by 1767 he styled himself an 'architect and professor of design'. He published the first volume of his most important work, 'Nouvelle Iconologie Historique' in 1768, containing 110 plates of his designs for furniture, decorative arts and architectural...

Chiaroscuro woodcut with underlying engraving on cream laid paper, printed from two blocks in brown and olive. 10 1/4 x 12 3/4 inches (260 x 321 mm) (plate), full margins with the text printing clearly below in black ink. In very good condition with scattered surface soiling and several minor flecks of light discoloration in the margins, especially in the area of the lower right corner, well outside of image area. Unobtrusive notations in pencil in the margin and on the verso. All condition issues are consistent with age. After a drawing of the same title by Polidoro da Caravaggio...

Copper-line engraving. C1768. Delafosse was a French decorative designer, engraver and architect. Apprenticed for a time to a sculptor, by 1767 he styled himself an 'architect and professor of design'. He published the first volume of his most important work, 'Nouvelle Iconologie Historique' in 1768, containing 110 plates of his designs for furniture, decorative arts and architectural...

Crisp antique copper engraving of a unique floor plan of French horse stables from Recueil d'Architecture, 1780. Original artwork on paper displayed on a...

'Side Board' From George Hepplewhite's 'Cabinet-Maker and Upholsterer's Guide', published by I. and J. Taylor in 1788. These engravings are the only evidence of Hepplewhite's style ...

'Luire de Cheminees a la Moderne nouvellement Invente et Grave par Jean Dolivar.' Collection of 6 engravings with designs for chimney-pieces. Published in Paris, circa 1670. 210mm ...

Copper-line engraving. C1768. Delafosse was a French decorative designer, engraver and architect. Apprenticed for a time to a sculptor, by 1767 he styled himself an 'architect and professor of design'. He published the first volume of his most important work, 'Nouvelle Iconologie Historique' in 1768, containing 110 plates of his designs for furniture, decorative arts and architectural...

This is a large framed very rare hand-colored copperplate mezzotint engraved portrait of William Pitt, the Elder, 1st Earl of Chatham by Edward Fisher, published in London in 1779 after a painting by Richard Brompton. Pitt is depicted attired in a flowing regal appearing cape, standing in an ornate room with his left hand outstretched over a serious of manuscripts and scrolls that are laying on a table or desk to his left. The table is covered by a beautiful oriental carpet. The manuscripts include the Magna Carta, a map of the colonies, including Long Island and Staten Island, and papers entitled "A Plan for the Reconciliation between Great Britain and the Colonies", "A Motion Made in 1775 for the Recall of Troops from Boston", "A Provisional Act for Settling the Troubles in America Offered to the House of Lords in 1775", and "It is doing Nothing to repeal a few Scraps of Paper or Pieces of Parchment called Acts of Parliament. But our Business is to repeal the Ill-Will and the Animosity unfortunately now subsisting between Great Britain and North America". This engraving is held by the British Museum and the British Royal Collection Trust. This large framed mezzotint engraving is presented in a brown wood frame with gold-colored beaded inner and outer trim, and a cream-colored French mat. The frame measures 31.63" high by 26.63" wide by 0.75" deep. There are three short tears along the right edge and mild creasing in the left upper, left lower and right lower corners. It is otherwise in very good condition. William Pitt (1708-1778) was a member of the British parliament from 1735 to 1761 and prime minister from 1766 to 1768. Pitt was an advocate for the American colonies leading up to the War of Independence. He called for an amiable relationship between Great Britain and the colonies and opposed the Stamp Act and military action in America. He advocated for a withdrawal of English troops from Boston in 1775 and the settling of troubles in America, as two of his manuscripts on the table outline. Pitt's colleague, Lord Shelburne (later the Marquess of Lansdowne) shared his sympathies and after Pitt's death, signed a peace treaty with the United States in 1782. The American city of Pittsburgh, Pennsylvania is named for William Pitt, the Elder. The name originated when the conflict between the British and French over territorial claims in the Northeast were settled in 1758. General John Forbes and his British army, supported by the American colonial troops, expelled the French from Fort Duquesne (which had been constructed by the French in 1754). Forbes re-named the site for William Pitt the Elder, who at the time was a British statesman. The earliest known reference to the new name, Pittsburgh, is in a letter sent from General John Forbes to Pitt, dated November 27, 1758. Pitt's son, William Pitt, the Younger, like his father, also served as British Prime Minister. Edward Fisher (1730-1785) was born in Ireland in 1730. He was originally a hatter, but learned engraving in London. He became a member of the Incorporated Society of Artists in 1766, and exhibited there fourteen times between 1761 and 1776. He engraved more than sixty portraits. In addition to this portrait of William Pitt, Earl of Chatham, after Richard Brompton he engraved several portraits after Brompton, including George, Earl of Albemarle, as well as engraved portraits after paintings by Joshua Reynolds, including the Shakespearean actor David Garrick, Hugh, Earl of Northumberland, and Elizabeth, Countess of Northumberland and Laurence Sterne, and Hope Nursing Love, as well as Robert Brown, after Mason Chamberlin, Colley Cibber, after Jean-Baptiste van Loo, Christian VII of Denmark, after Nathaniel Dance, Simon, Earl Harcourt, after Hunter, Roger Long, after Benjamin Wilson...

This artwork titled Jan Uytenbogaert" 1639 is an etching on paper After Rembrandt Van Rijn, 1606-1669, plate engraved By French renown engraver Charles Armand Durand, 1831-1905. Sign...

Ancient Roman painting- Offering Scene from the series "Antiquities of Herculaneum", is an original etching on paper realized by Nic Orcity an...

Antique copper engraving of the floor plan to Crescenzi Palace in Rome, Italy by Italian Giovanni Giacomo de' Rossi, 1650. Original artwork on paper displayed on a white mat with a...

'Library Case' From George Hepplewhite's 'Cabinet-Maker and Upholsterer's Guide', published by I. and J. Taylor in 1788. These engravings are the only evidence of Hepplewhite's styl...

'Bidet Shaving Table and Night Table' From George Hepplewhite's 'Cabinet-Maker and Upholsterer's Guide', published by I. and J. Taylor in 1788. These en...

Architectural designs. A set of nine architectural engravings. These engravings are framed in white gold covered french frames. From the publication published in Milan in 1782. "Diff...

'Dressing Glasses' From George Hepplewhite's 'Cabinet-Maker and Upholsterer's Guide', published by I. and J. Taylor in 1788. These engravings are the o...

'Side Board' From George Hepplewhite's 'Cabinet-Maker and Upholsterer's Guide', published by I. and J. Taylor in 1788. These engravings are the only evidence of Hepplewhite's style ...

Original Illustration based on photograph by Kevin Cummins. Signed by Shepard Fairey and Kevin Cummins. A portion of the proceeds went to CALM (Campaign Against Living Miserably). "...

Over 350 year old antique copper engraving of the floor plan to the Spada palace in Rome, Italy by Italian Giacomo Rossi, 1650. Original artwork on paper displayed on a white mat wi...

Over 350 year old exquisite antique copper engraving of the architectural floor plans to Massimi Palace in Italy by Giovanni Giacomo de' Ross...

'Maniere de Coller Les Bois Droit et Les Paneaux Cintree en Plan' French copper-line engraving by Michelinot after Andre Jacob Roubo (1739–1791). 18th century laid watermarked paper...

'Maniere de Determiner La Hauteur Des Lambris Dappuis' French copper-line engraving by Berthault after Andre Jacob Roubo (1739–1791). 18th century laid watermarked paper. From Roub...

'Construction des Parclauses et Le Profil des Museaux' French copper-line engraving by Milsan after Andre Jacob Roubo (1739–1791). 18th century laid watermarked paper. From Roubo's...

'Elevations de Diverses Armoires Pour Les Sacristies' French copper-line engraving by Berthault after Andre Jacob Roubo (1739–1791). 18th century laid watermarked paper. From Roubo...

'Maniere de Construire Les Bazes, Les Chapiteaux et Les Entablements en Bois' French copper-line engraving by Berthault after Andre Jacob Roubo (1739–1791). 18th century laid waterm...

'Differents Manieres de Coller les Bois Courbes' French copper-line engraving by Berthault after Andre Jacob Roubo (1739–1791). 18th century laid watermarked paper. From Roubo's 'L...

Bold antique copper engraving of the floor plan of a French cathedral from Recueil d'Architecture, 1780. Original artwork on paper displayed on a whi...

FEOLI, Vincenzo. Vedute del Museo Pio-Clementino. Rome, 1790. A double-page engraved plate after Miccinelli and Costa. Sheet size: 70.5cm by 99cm. Mounted size: 81cm by 101cm. Magnificent series of extra-large plates illustrating the Vatican Museum...

Carcere d'Invenzione is an original Modern Artwork realized by Giovan Battista Piranesi (Mogliano Veneto, 1720 - Rome, 1778). Original Etchin...

Image dimensions: 15 x 12 cm. Scène de bistrot is a black and white etching with burin interventions on paper realized by an anonymous artist, after the Flemish artist Adrian Van Ostade...

Le Roy Mene au Trone from the Series Le Sacre de Louis XV  (1722-1731 )  is an etching by French artist Charles Nicolas Cochin the Elder ( 1688-1754...

To see more of our period engravings, scroll down to "More from this Seller" and below it click on "See all from this Seller." Chapel Interior (circa...

Two hand colored engravings from the Academie de l’Espee ( full title can be translated as Academy of the Sword: wherein is demonstrated by mathematical rules on the foundation of a mysterious circle the theory and practice of the true and heretofore unknown secrets of handling arms on foot and horseback ) by Girard Thibault...

L'Acte d'Humanité is an original artwork realized by Robert De Launay in 1786. Original Etching on paper after Jean De Fraine. Lettered in French with names of designer and engra...

Interior Meeting is an original etching realized by Cornelis Meyssens ( 1640-1573). Good conditions, except for some foldings. Included a Passepartout: 34 x 49 cm The artwork repres...

Magnificent large plate illustrating the Vatican Museum at the end of the eighteenth century by Vincenzo Feoli (1750 - 1831) after Miccinelli and Costa. The Pio-Clementino museum, n...

La Devineresse is an original artwork realized by Jean-Lubin Vauzelle in the second half of the XVIII century. Original etching on paper. Passepartout included (39 x 28.5 cm). Sign...

Magnificent large plate illustrating the Vatican Museum at the end of the eighteenth century by Vincenzo Feoli (1750 - 1831) after Miccinelli and Costa. The Pio-Clementino museum, n...

After Dinner Scene F. Schweitzer Etching on laid paper, signed in pencil Image Size: 9.25 x 7.5 inches Size: 17.5 x 12.75 in. (44.45 x 32.39 cm)

James Basire (engraver) after W Davey (illustrator) Chimneypiece in the Bishop's Palace, Exeter 50x33cm (to plate mark) Engraving Published by the Society of Antiquaries 23rd April 1...

FEOLI, Vincenzo. Vedute del Museo Pio-Clementino. Rome, 1790. A double-page engraved plate after Miccinelli and Costa. Sheet size: 70.5cm by 99cm. Presented in a mount, size: 81cm by 101cm. Magnificent series of extra-large plates illustrating the Vatican Museum...

Magnificent large plate illustrating the Vatican Museum at the end of the eighteenth century by Vincenzo Feoli (1750 - 1831) after Miccinelli and Costa. The Pio-Clementino museum, n...

Ceiling designs. A set of three architectural engravings. These engravings are framed in white gold covered french frames. From the publication publishe...

Chandelier designs. A pair of architectural engravings. These engravings are framed in white gold covered french frames. From the publication published in Milan in 1782. "Different o...

'Library Table' From George Hepplewhite's 'Cabinet-Maker and Upholsterer's Guide', published by I. and J. Taylor in 1788. These engravings are the only evidence of Hepplewhite's sty...