After Pierre Turpin Art

Four hand colored etchings and aquatints depicting interiors within English royal residences, including "The Blue Velvet Room at Carlton House", "The Queen's Library at Frogmore", "T...

Lafitte's Blacksmith Shop is a New Orleans landmark at 941 Bourbon St. Like most New Orleans legends, history of Lafitte's Blacksmith Shop is a gumbo of tru...

Attributed to Alfred Mills (English, 1776-1833) " The Dentist ", 1806 Hand Colored Engraving Published by Bowles & Carver Sight Size: 6 3/4" x 8 5/8" Overall Size: 14 3/4" x 15 3/4" Light foxing to the print as well as the matt, losses to the frame. A light social satire depicting a society dentist extracting a tooth from the mouth of a distressed young lady in an elegant drawing room, while two uniformed attendants and a young gentleman hide their sniggers and smirks at the comic verse below that, for all the dentist’s vast wealth, ‘Like many more twixt North and South, He does but live from Hand to Mouth’. **Please check my other listings for MORE SATIRICAL DENTAL prints...

Carte Particuliere Des Costes De Bretagne qui Comprend Morlaix, Saint Paul de Leon, les Sept Isles, et L’Isle. Faite par ordre Exprez Du Roy de France is from the collection of ch...

This beautiful 19th century framed engraving "The Fighting Temeraire" by James Tibbetts Willmore is based on an original painting by the renowned British artist J.M.W. Turner. It was published by James S. Virtue & Co. in London between 1859-1875. It depicts the once mighty British warship the HMS Temeraire being towed away down the river Thames by a much smaller steamboat to a ship-breaking yard to be broken up for scrap. The Temeraire was first launched in 1798 and represented the pinnacle of British ship-building. 180-feet long, constructed of English oak and armed with 98 guns, she was one of the largest warships of the period. The Temeraire became a symbol of British pride and military power that endured throughout the 19th century. The man-of-war served during the French Revolutionary and Napoleonic Wars and was among the last serving ships to have been at the Battle of Trafalgar in 1805. It became one of the many older ships put out of service in the 1830s and 1840s. The once mighty and feared ship symbolizes a once magnificent, but now obsolete, technology. Turner seems to lament her inglorious final journey, being towed by a less magnificent, but modern steam powered tugboat. The Turner painting was created in 1838 and is now held in the National Gallery in London. Willmore's engraving, created in 1859, captures the dramatic scene with great detail and skill. The image has become an iconic representation of the decline of Britain's naval power and the transition from sail to steam in the 19th century. The sunset in the background is symbolic of the sun going down on British naval power and tradition. The painting conveys profound and diverse themes that are central to the human experience: those of mortality and change, technology and progress, heroism and brutality. The painting demonstrates Turner’s skill as an artist. His ability to produce scenes of great beauty that are dramatic, but are also symbolic, stimulating both thoughtful analysis, as well as emotion. Turner's painting was voted by the British public in a 2005 BBC radio sponsored survey to be the British people's favorite painting of all time. In 2020 it was included on a new British banknote...

Brightly colored "Blah, Blah, Blah" monoprint in oil with collage, engraving and embossment on handmade paper by artist Mel Bochner from Two Palms Publishing. Signed and dated Bochne...

The marriage between the art of science and the art of seeing was cemented by the invention of the lens. It is FIROS #48 in the catalogue raisonne. Carol Wax originally trained to b...

“Hidden Cities I : The Ministry. Second State.” Contemporary artist Peter Milton created this etching and engraving in 2006. The printed image size is Image size 23.50 x 36.88 inches and the paper size is 31 x 42 inches. This impression is signed, dated, and titled in pencil and inscribed “11/75” – the 11th impression from the total printing of 75. “I do love to draw. I feel that I am being granted membership in the Brotherhood of Merlin, conjuring forth some apparition. As a drawing develops, I sense a vague presence coming more and more into focus, something in a white fog emerging and becoming increasingly palpable.” – P. Milton, “The primacy of touch. The Drawings of Peter Milton” “Working in layers, Milton begins with drawings based on people and places, with nods to Western art history and culture. He is a master of the appropriated image, a term that may conjure Andy Warhol and his Pop Art comrades. But Milton steps further back in history, avoiding the Pop sense of cool advertising and popular culture references. Instead, a broader cultural past is tapped through historical photographs of key players, architecture, and locales, which he reinvents by hand. He adds content drawn from his life as an avid reader – always with multiple possible interpretations – thus incorporating deeper meaning in his cinematic worlds. Elements of Greek mythology, classical music, art history, and history coalesce in his images, which embrace the messiness, sorrow, and elation that is life. One is hard-pressed to imagine a more erudite, skilled, passionate, and cheeky soul. In addition to a storied career in printmaking, since 2007 Milton has fearlessly produced artwork digitally. He now creates images using Adobe Photoshop in files consisting of more than two thousand layers, which are printed both as digital prints on paper and, for display on Led light boxes...

This is an original 16th century copperplate originally hand-colored engraved map of View of Seravalle, Italy entitled "Seravallum Celeberrimum Marchiae Tarvisiniae in Agro Foro Juliensi Opp. - Seravalli, quam vides, Spectator, iconem, operi huic nostro suis sumptib. . . ." by Georg Braun & Franz Hogenberg, from their famous city atlas "Civitates Orbis Terrarum", published in Augsberg, Germany in 1575. The map depicts a view of Seravalle, now Vittorio Veneto, in San Marino, Italy, north of Venice, in a topographically accurate bird's-eye view from the south. A water-filled moat is seen to the south of the city walls and farmland to the east. Two men are depicted standing on a hill in the lower right in conversation next to grain sacks and a grazing horse, while a younger man behind them to the right herds a mule carrying presumably pigs. A very colorful and ornate title cartouche is in the upper center and coat-of-arms are in the right and left upper corners. Serravalle lies in an idyllic setting in the foothills and surrounded by orchards. St Mary's Cathedral with its tall bell tower is prominent in the center of the town. The marketplace and town hall with a bell tower in the square are depicted. Houses and shops are around the main square. Serravalle's importance as an agricultural centre is emphasized by the figures in the foreground. In 1337 Serravalle was conquered by the Republic of Venice. In 1866 the town was united with neighbouring Ceneda to form the town of Vittorio Veneto. The following is an English translation of an excerpt from the French description of the city on the back of the map: "Serravalle, a market town renowned for cloth, wine and grain, is in such a beautiful situation that the number of its inhabitants, attracted by the loveliness of the place, has grown so much at times that the wall encircling it has had to be enlarged for the third time. The city with the surrounding town once belonged to the Church in Ceneda as an imperial fief. It subsequently became the seat of the Da Camino family (a princely house that at that time was one of the five most noble in all Italy). Now the city is under the sway of the Venetians but is prudently governed by them. For they send only one city councillor with instructions to ensure that justice prevails and to collect duties. In all else, power lies in the hands of the noble families." This is a translation of the Latin in the title cartouche on the front: "The picture of the town of Serravalle, which you see, viewer, has been contributed to our work entirely at his own expense by Minutius, son of Hieronymus Minutius, a noble gentleman and one renowned for the far-reaching competence of his jurisdiction. We saw him sojourning in Cologne, where he was on business for Gregory XIII; while our good wishes accompany him, we should also like to accompany him on his way with this remembrance, even though it might be against his will, so that even those who have not seen him may learn of his excellence. However, those who do not yet know him will also see his excellence if God the Almighthy does not summon erring souls too soon back to the eternal seat of the Blessed." References: Van der Krogt 4, 4728, State 1; Taschen, Braun and Hogenberg, p.331; Fauser, #14960 This striking hand-colored city view is printed on laid, chain-linked paper with wide margins. The sheet measures 16" high by 21" wide. There is a central vertical fold as issued and French text on the verso, with Latin on the front. There is some discoloration in the upper and right margins which may represent some watercolor paint from the time of the original hand-coloring of the map. There is a small hole to the right of the upper portion of the vertical fold, which is only visible when held up to light and an area of reinforcement on the verso of the lower vertical fold. The map is otherwise in very good to excellent condition. Braun and Hogenberg's 'The Civitates Orbis Terrarum' was the second atlas of maps ever published and the first atlas of cities and towns of the world. It is one of the most important books published in the 16th century. Most of the maps in the atlas were engraved by Franz Hogenberg and the text, with its descriptions of the history and additional factual information of the cities, was written by a team of writers and edited by Georg Braun. The work contained 546 bird-eye views and map views of cities and towns from all over the world. It gave graphic representation of the main features of the illustrated cities and towns, including the buildings and streets. Although the ordinary buildings are stylized, the principal buildings are reproduced from actual drawings created on location. The principal landmarks and streets can still be recognized today. In addition, the maps often include the heraldic arms of the city, the nature of the surrounding countryside, the important rivers, streams and harbors, even depicting stone bridges, wooden pontoons, flat-bottomed ferries, ships and working boats, wharves and jetties, as well as land-based activities, including horsemen, pedestrians, wagons, coaches, and palanquins. Small vignettes are often included which illustrate the trade, occupations and habits of the local inhabitants, such as agriculture, paper-making and textiles, as well as local forms of punishment, such as gibbets, wheels, floggings etc. Large figures dressed in their local costume are often presented out of proportion in the foreground. The aim of the authors was to give as much information as possible in a pleasing visual form. They succeeded in creating maps that were both informative and decorative works of art. The atlas is a wonderful glimpse of life in medieval Europe. Georg Braun (1541-1622) was German Catholic...

"Phytanthoza Iconographia", c1737-1745. A wonderful selection of yellow and blue flowers: hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", presented in hand-m...

An original 19th century hand-colored folio-size McKenney and Hall lithograph of a Native American entitled "Le Soldat Du Chene, An Osage ...

This is a framed 16th century hand-colored copperplate map of northern Italy entitled "Veronae Urbis Territorium a Bernardo Bragnolo Descriptium" by Abraham Ortelius from his atlas "Theatrum Orbis Terrarum", which was the first modern atlas of the world, with the first volume published in 1570. This map was part of a subsequent volume, published in Antwerp in 1584. It was based on an earlier map by Bernardo Brognoli. This beautiful map of northern Italy is focussed on Verona and its environs, including Mantua. Lake Garda and the South Tyrol mountains are prominently depicted. There is a very large striking cartouche in the upper left and a decorative distance scale in the lower right. This striking hand-colored map of northern Italy is presented in a gold-colored wood frame and an olive green-colored mat. It is glazed with UV conservation glass. All mounting materials used are archival. The frame measures 21.5" high by 28" wide by 0.75" deep. There is a central vertical fold, as issued, with slight separation of the lower portion of the fold. There are faint spots in the upper and right margins, but the map is otherwise in very good condition. Abraham Ortelius (also known as Ortels, Orthellius, and Wortels) (1527-1598) was a Dutch cartographer, geographer, and cosmographer. He began his career as a map colorist. In 1547 he entered the Antwerp guild of St Luke as an "illuminator of maps". He had an affinity for business from an early age and most of his journeys before 1560, were for business. He was a dealer in antiques, coins, maps, and books. 
His business income allowed him to acquire an extensive collection of medals, coins, and antiques, as well as a large library of books...