Sir William Hamilton Prints

Antique portrait titled 'George Hamilton Earl of Orkney'. Portrait of George Hamilton, 1st Earl of Orkney, 1666 - 1737. Artists and Engravers: Jacobus Houbraken (1698-1780) was a ...

Two French matted and framed 18th century black and white engravings inspired by Classical Antiquity. The first frame contains an engraving of a woman patting a unicorn, and a man an...

Print size: 15 inches by 10 inches. Lord Hamiltons Ancient Vases. Number 94. Johann Tischbein, Naples , Italy. The scene depicts a scene from Greek Mythology, specifically one of the...

Presented is a Jacques Reich etched head and shoulders portrait of Alexander Hamilton. Reich completed the portrait in 1904 and it was published by G.P. Putnam that same year. Jacqu...

Framed print titled "Breaking Cover", a well-known fox hunting scene originally designed by the British artist Henry Thomas Alken. The original work was typically a hand-co...

We are delighted to offer for sale this lovely pair of original copper plate prints dating to 1719 by Bernard De Montfauucon of Paris. Dom Bernard de Montfaucon, O.S.B. (French: [d? m?~fok?~]; 13 January 1655 – 21 December 1741) was a French Benedictine monk of the Congregation of Saint Maur. He was an astute scholar who founded the discipline of palaeography, as well as being an editor of works of the Fathers of the Church. He is regarded as one of the founders of the modern discipline of archaeology Montfaucon was born on 13 January 1655 in the Castle of Soulatgé, a small village in the southern town of Corbières, then in the ancient Province of Languedoc, now in the modern Department of Aude. Other sources claimed his birth date is in 16 January, the most accepted date. After one year he was moved to the Castle of Roquetaillade, residence of his family. When he was seven, he was sent to Limoux, to the college run by the Fathers of Christian Doctrine Montfaucon served in the French army as a volunteer and participated in the Franco-Dutch War of 1673. He was a captain of grenadiers and made two campaigns under the command of Marshall Turenne, participated in the Battle of Herbsthausen and fell ill in Saverne in Alsace. Because of his infectious illness he made a vow to Our Lady of Marceille to give one hundred livres to her sanctuary in Limoux and to become a monk, if he was able to return to his country as a result of her intervention. After the death of Montfaucon's father at the Château de Roquetaillade, in 1675 he entered the novitiate of the Benedictine monastery of Bream in Toulouse. There he learned several ancient languages: Greek, Hebrew, Chaldean, Syriac, and Coptic. In 1687 Montfaucon was called to the Abbey of Saint-Germain-des-Prés and he started to work on an edition of the works of the Greek Church...

Set of three framed 1960s Vogue Magazine covers. Left to right: September 1964 cover features model Wilhelmina photographed by David Bailey. N...

Antique print titled 'William Cecil Lord Burleigh'. William Cecil, 1st Baron Burghley. Engraved by John Goldar (1729–1795) from an earlier portrait.

Picture itself 8x12. Six signed G. Casini for Giovanni Maria Cassini , Italian 1745-1824. Group of images including the back side of the Hamilton Vase. All likely from an 18th centur...

Diana of Ephesus Antique Engraving, Montfaucon Antiquité Expliquée, 1721 This original eighteenth-century copper engraving titled “Diane d’Ephese” illustrates several sculptural representations of the celebrated cult statue of Artemis of Ephesus, one of antiquity’s most enigmatic and symbolically charged religious images. The plate originates from Bernard de Montfaucon’s landmark antiquarian publication L’antiquité expliquée et représentée en figures, published in Paris in 1721, a pioneering encyclopedic study that helped establish the scholarly foundations of archaeology and art history during the Enlightenment. Montfaucon’s ambitious project sought to systematically document the material culture of the ancient world through carefully researched engravings based on surviving sculptures, coins, reliefs, and historical sources. This plate presents multiple interpretations of the Ephesian goddess, comparing sculptural variants and medallion representations. The central figures stand rigidly frontal, crowned and richly adorned, their bodies covered with registers of animals, symbolic figures, and ritual ornamentation. Smaller circular images below further demonstrate how the goddess appeared on ancient coins and reliefs, reflecting Montfaucon’s analytical approach to classical imagery. Unlike the familiar Greek Artemis, goddess of the hunt, the Ephesian Diana represents an older Anatolian mother deity assimilated into Greco-Roman religion. Her distinctive iconography—tiered body coverings, animal motifs, and fertility symbolism—expresses abundance, cosmic order, and divine protection. During the eighteenth century, such images fascinated European scholars attempting to interpret ancient religions through comparative symbolism, making Montfaucon’s publication a cornerstone reference for collectors, antiquarians, and early museums. The engraving is executed with refined precision typical of Parisian copperplate work of the early 1700s, combining scientific clarity with strong decorative appeal. The balanced composition and graphic symmetry allow the print to function equally as a scholarly artifact and an elegant wall piece suited to both classical and contemporary interiors. This original antique engraving is offered unframed, providing flexibility to select a frame appropriate to the intended interior setting. Condition: Good antique condition with age-related toning and light paper discoloration consistent with early eighteenth-century prints...

Diana of the Ephesians Antique Engraving, Montfaucon Antiquité Expliquée 1721 This original early eighteenth-century copper engraving depicts the famed Diana of the Ephesians (Artemis of Ephesus), one of the most recognizable and symbolically rich cult images of the ancient world. The plate originates from Bernard de Montfaucon’s monumental antiquarian publication *L’Antiquité expliquée et représentée en figures*, published in Paris in 1721, a foundational scholarly work that systematically documented classical antiquities and helped establish archaeology as an academic discipline. Montfaucon’s encyclopedic project sought to gather visual knowledge of ancient civilizations through carefully engraved illustrations based on surviving sculptures, coins, manuscripts, and earlier collections. This engraving presents the Ephesian Artemis in her distinctive archaic form: a rigid frontal figure crowned with a mural headdress, arms extended, and a body covered with symbolic registers. The multiple rounded forms across the torso—traditionally interpreted as fertility attributes—reflect the goddess’s role as a universal mother and protector of nature. Bands of animals, mythological creatures, and sacred motifs reinforce her association with cosmic order, fertility, and the natural world. Unlike the athletic huntress Artemis familiar from Greek sculpture, the Ephesian Diana represents an older Anatolian cult tradition absorbed into Greco-Roman religion. The engraving therefore documents not only a sculpture but also Enlightenment-era attempts to understand ancient religious symbolism through comparative study. Montfaucon’s precise linework and balanced composition exemplify the refined craftsmanship of Parisian copperplate engraving during the early 18th century, combining scholarly accuracy with strong decorative appeal. Today, engravings from L’Antiquité expliquée are highly regarded by collectors of classical antiquity, archaeology, and early academic illustration. The graphic symmetry and sculptural clarity make this image particularly suitable for interiors ranging from traditional libraries to contemporary gallery walls. This original antique engraving is offered unframed, allowing flexibility to select a frame that best suits the intended interior. Condition: Good antique condition with age-related toning and light discoloration to the paper, consistent with early eighteenth-century prints. Minor edge wear and handling marks confined mainly to the margins. Plate impression visible. Blank verso. Framing tips: A dark walnut or ebonized frame with a wide ivory mat enhances the classical presence of the figure. For a modern interior, a slim black frame with generous mat spacing creates a museum-quality presentation emphasizing the engraving’s symmetry. Technique: Copper engraving Maker: Bernard de Montfaucon, France, Paris, 1721 Keywords: Diana of Ephesus, Artemis of Ephesus engraving, Montfaucon Antiquité expliquée, antique classical engraving, Ephesian Diana print, Greek mythology print...

Framed Silk Scarf Femme "Accoudé en Robe Mauve et au Chapeau" after Pablo Picasso. AUTHORIZED BY THE HIERS OF PABLO PICASSO MARIGOLD ENTERPRISES