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Decorative Motifs of the Egyptian Renaissance - Chromolithograph - 20th Century

Early 20th Century

Decorative motifs is a vintage chromolithograph print realized by an anonymous artist in the early 20th Century Good conditions. The artwork represents Decorative motifs in a well-...

Decorative Motifs - Egyptian Styles is a print on ivory-colored paper realized after Andrea Alessio in the early 20th Century. Signed on the plate on...

Decorative Motifs - Egyptian Styles is a print on ivory-colored paper realized by Andrea Alessio in the early 20th Century. Signed on the plate on the lower. Vintage Chromolithograp...

Decorative Motifs - Egyptian Styles is a print on ivory-colored paper realized by Andrea Alessio in the early 20th Century. Signed on the plate on the lower. Vintage Chromolithograp...

Title: "Exploring Ancient Egyptian Art in Dolmetsch's Ornament Collection" These prints are plates from "Der Ornamentenschatz," a comprehensive pattern book of decorative ornaments ...

Antique Egyptian Ornament Prints with Mythological and Architectural Detail This striking composition features two hand-colored plates from a renowned 19th-century design compendium, showcasing the beauty and complexity of ancient Egyptian ornamentation. Originally published in 1887 in Stuttgart, these chromolithographic prints come from 'Der Ornamentenschatz', one of the most influential collections of decorative art ever assembled. The left plate highlights traditional Egyptian painting and sculpture, centering on a mythological female figure—possibly the goddess Hathor or Isis—adorned with the sun disk and cow horns, flanked by symbolic elements including the ankh (symbol of life), winged scarabs, and vibrant geometric patterns. The layout evokes the harmony and symmetry characteristic of Egyptian visual language, offering viewers a glimpse into the symbolic richness of one of the world’s oldest civilizations. The right plate explores architectural and painted ornament, featuring monumental column capitals modeled on lotus and papyrus plants, temple wall decorations with goddesses and priests, and friezes rich in color and rhythm. The precise rendering of these motifs reflects both the scholarly accuracy and artistic flair of the original compilation. These visual references were drawn from archaeological surveys of temples and tombs, making them historically accurate as well as visually captivating. These prints were produced using the chromolithographic technique, which allowed for vibrant, layered colors that remain striking even today. They were intended not only as a source of inspiration for artists, architects, and designers, but also as a record of the decorative heritage of global civilizations. This particular set of Egyptian plates...

Antique print titled 'Egyptian - Egyptien - Aegyptisch'. Chromolithograph of Egyptian motifs from murals and reliefs and various objects ornaments. This print originates from 'l'Orne...

(20th century) Theban Archaeopteryx Lithographica lithograph edition of 15 signed Barbara Trupp was born in Nebraska and spent her childhood in Montana. She studied at the Banff Centre School of Fine Arts in Alberta, Canada; the University of Puget Sound; and the University of Michigan. Theban Archeaopteryx Lithographica was printed at the Plucked Chicken Press in Evanston, Illinois. “The stone is the shape of the Rosetta Stone, unlocking language, [a] key to the past,” says Tripp. “Wouldn’t it be wonderful if you came across a stone, chipped at it, and revealed layer upon layer of visual history, images from sophisticated Egypt back to Paleozoic trilobites? “Lithography stones, quarried from the Jura Mountains of Bavaria, reach us from the Jurassic period of the Mesozoic, bearing fossils of the first birds. The bird fossil looked like it was doing an Egyptian dance, and that reminded me of the wall paintings of the House of Eternity in Thebes. ‘Paint the walls brightly, cheerfully, so that our souls will take the form of birds and fly,’ said Sennefer, the mayor of Thebes, in the tomb of his wife Meryet. “Fossils and archeological evidence provide proof that others existed before us, and allow us to see their thoughts. The past is with us. Like Archaeopteryx, Sennefer and Meryet still fly through eternity, though frozen in stone. Above them is the protective eye of Horus. Trilobites represent a breathtaking explosion of Cambrian life forms. Between Archaeopteryx and Egypt, I wanted mammals. Petroglyphs. Human marks. Because my right hand is the trained hand, I drew with my left, childlike. And I drew with a stick, dipped in asphaltum, and a ratty old brush...