Foreign Affair International

These original 1830s Scottish hummingbird prints are hand-colored engravings from Sir William Jardine’s celebrated The Naturalist’s Library, published in Edinburgh by W. H. Lizars. T...

This vibrant Mediterranean marine painting by Hungarian artist Rudolf Négely (1883–1941) depicts sailboats along a sun-filled southern European coast. Painted in oil on canvas and si...

Colorful early 20th-century French landscape oil painting by Jules Ausset (1868–1955), featuring verdant green trees beneath an unusually beautiful pink, blue and white sky. A small ...

Italian physician and botanist Pietro Andrea Mattioli (1501–1577) created one of the most influential botanical works of Renaissance Europe by expanding upon the ancient medicinal wr...

Italian physician and botanist Pietro Andrea Mattioli (1501–1577) created one of the most influential botanical works of Renaissance Europe by expanding upon the ancient medicinal wr...

Italian physician and botanist Pietro Andrea Mattioli (1501–1577) created one of the most influential botanical works of Renaissance Europe by expanding upon the ancient medicinal wr...

Italian physician and botanist Pietro Andrea Mattioli (1501–1577) created one of the most influential botanical works of Renaissance Europe by expanding upon the ancient medicinal wr...

Italian physician and botanist Pietro Andrea Mattioli (1501–1577) created one of the most influential botanical works of Renaissance Europe by expanding upon the ancient medicinal wr...

Italian physician and botanist Pietro Andrea Mattioli (1501–1577) created one of the most influential botanical works of Renaissance Europe by expanding upon the ancient medicinal wr...

This atmospheric 1931 French river landscape by Georges Ledogard depicts Saint-Mamès, the historic village southeast of Paris where the Seine and Loing meet. Painted in oil on canvas...

This 1976 School of Paris Post-Impressionist oil painting depicts Golfe-Juan on the French Riviera, painted by Spanish artist José Palmeiro (1903–1984). Signed lower left and dated 1...

This French Impressionist painting, Summer Stroll, by Max Agostini (1914–1997), captures the pleasure of a leisurely walk through a sunlit landscape with Agostini’s characteristic wa...

Dating from 1737–1745, these original 18th-century botanical prints come from Johann Wilhelm Weinmann’s monumental Phytanthoza Iconographia, one of the most ambitious and visually di...

Dating from 1737–1745, these original 18th-century botanical prints come from Johann Wilhelm Weinmann’s monumental Phytanthoza Iconographia, one of the most ambitious and visually di...

Dating from 1737–1745, these original 18th-century botanical prints come from Johann Wilhelm Weinmann’s monumental Phytanthoza Iconographia, one of the most ambitious and visually distinctive botanical publications of the period. Published in Regensburg, Germany, the four-volume work documented an extraordinary range of flowers, plants, trees, fruits and fungi through more than 1,000 botanical plates. Johann Wilhelm Weinmann (1683–1741) was a German apothecary and botanist whose extensive plant collection formed the basis for this remarkable undertaking. The illustrations were created by several artists, most notably the celebrated botanical artist Georg Dionysius Ehret (1708–1770), whose early work for Weinmann helped establish the naturalistic style for which he later became famous. Other artists included N. Asamin, while important German printmakers Bartholomäus Seuter, Johann Elias Ridinger and Johann Jakob Haid participated in producing the plates. Phytanthoza Iconographia was technically innovative as well as beautiful. Its botanical illustrations were produced using engraving and color-printed mezzotint techniques, with additional coloring completed by hand. The publication is particularly significant for its pioneering successful use of color-printed mezzotint in botanical illustration. The resulting combination of printed color and hand finishing gives the flowers wonderful depth, subtle tonal variation and a distinctly painterly quality. For interior designers, these original Weinmann botanical prints...

Dating from 1737–1745, these original 18th-century botanical prints come from Johann Wilhelm Weinmann’s monumental Phytanthoza Iconographia, one of the most ambitious and visually di...

Dating from 1737–1745, these original 18th-century botanical prints come from Johann Wilhelm Weinmann’s monumental Phytanthoza Iconographia, one of the most ambitious and visually di...

Dating from 1737–1745, these original 18th-century botanical prints come from Johann Wilhelm Weinmann’s monumental Phytanthoza Iconographia, one of the most ambitious and visually di...

Dating from 1737–1745, these original 18th-century botanical prints come from Johann Wilhelm Weinmann’s monumental Phytanthoza Iconographia, one of the most ambitious and visually di...

Dating from 1737–1745, these original 18th-century botanical prints come from Johann Wilhelm Weinmann’s monumental Phytanthoza Iconographia, one of the most ambitious and visually distinctive botanical publications of the period. Published in Regensburg, Germany, the four-volume work documented an extraordinary range of flowers, plants, trees, fruits and fungi through more than 1,000 botanical plates. Johann Wilhelm Weinmann (1683–1741) was a German apothecary and botanist whose extensive plant collection formed the basis for this remarkable undertaking. The illustrations were created by several artists, most notably the celebrated botanical artist Georg Dionysius Ehret (1708–1770), whose early work for Weinmann helped establish the naturalistic style for which he later became famous. Other artists included N. Asamin, while important German printmakers Bartholomäus Seuter, Johann Elias Ridinger and Johann Jakob Haid participated in producing the plates. Phytanthoza Iconographia was technically innovative as well as beautiful. Its botanical illustrations were produced using engraving and color-printed mezzotint techniques, with additional coloring completed by hand. The publication is particularly significant for its pioneering successful use of color-printed mezzotint in botanical illustration. The resulting combination of printed color and hand finishing gives the flowers wonderful depth, subtle tonal variation and a distinctly painterly quality. For interior designers, these original Weinmann botanical prints...

Dating from 1737–1745, these original 18th-century botanical prints come from Johann Wilhelm Weinmann’s monumental Phytanthoza Iconographia, one of the most ambitious and visually di...

Dating from 1737–1745, these original 18th-century botanical prints come from Johann Wilhelm Weinmann’s monumental Phytanthoza Iconographia, one of the most ambitious and visually distinctive botanical publications of the period. Published in Regensburg, Germany, the four-volume work documented an extraordinary range of flowers, plants, trees, fruits and fungi through more than 1,000 botanical plates. Johann Wilhelm Weinmann (1683–1741) was a German apothecary and botanist whose extensive plant collection formed the basis for this remarkable undertaking. The illustrations were created by several artists, most notably the celebrated botanical artist Georg Dionysius Ehret (1708–1770), whose early work for Weinmann helped establish the naturalistic style for which he later became famous. Other artists included N. Asamin, while important German printmakers Bartholomäus Seuter, Johann Elias Ridinger and Johann Jakob Haid participated in producing the plates. Phytanthoza Iconographia was technically innovative as well as beautiful. Its botanical illustrations were produced using engraving and color-printed mezzotint techniques, with additional coloring completed by hand. The publication is particularly significant for its pioneering successful use of color-printed mezzotint in botanical illustration. The resulting combination of printed color and hand finishing gives the flowers wonderful depth, subtle tonal variation and a distinctly painterly quality. For interior designers, these original Weinmann botanical prints...

Dating from 1737–1745, these original 18th-century botanical prints come from Johann Wilhelm Weinmann’s monumental Phytanthoza Iconographia, one of the most ambitious and visually distinctive botanical publications of the period. Published in Regensburg, Germany, the four-volume work documented an extraordinary range of flowers, plants, trees, fruits and fungi through more than 1,000 botanical plates. Johann Wilhelm Weinmann (1683–1741) was a German apothecary and botanist whose extensive plant collection formed the basis for this remarkable undertaking. The illustrations were created by several artists, most notably the celebrated botanical artist Georg Dionysius Ehret (1708–1770), whose early work for Weinmann helped establish the naturalistic style for which he later became famous. Other artists included N. Asamin, while important German printmakers Bartholomäus Seuter, Johann Elias Ridinger and Johann Jakob Haid participated in producing the plates. Phytanthoza Iconographia was technically innovative as well as beautiful. Its botanical illustrations were produced using engraving and color-printed mezzotint techniques, with additional coloring completed by hand. The publication is particularly significant for its pioneering successful use of color-printed mezzotint in botanical illustration. The resulting combination of printed color and hand finishing gives the flowers wonderful depth, subtle tonal variation and a distinctly painterly quality. For interior designers, these original Weinmann botanical prints...

Dating from 1737–1745, these original 18th-century botanical prints come from Johann Wilhelm Weinmann’s monumental Phytanthoza Iconographia, one of the most ambitious and visually distinctive botanical publications of the period. Published in Regensburg, Germany, the four-volume work documented an extraordinary range of flowers, plants, trees, fruits and fungi through more than 1,000 botanical plates. Johann Wilhelm Weinmann (1683–1741) was a German apothecary and botanist whose extensive plant collection formed the basis for this remarkable undertaking. The illustrations were created by several artists, most notably the celebrated botanical artist Georg Dionysius Ehret (1708–1770), whose early work for Weinmann helped establish the naturalistic style for which he later became famous. Other artists included N. Asamin, while important German printmakers Bartholomäus Seuter, Johann Elias Ridinger and Johann Jakob Haid participated in producing the plates. Phytanthoza Iconographia was technically innovative as well as beautiful. Its botanical illustrations were produced using engraving and color-printed mezzotint techniques, with additional coloring completed by hand. The publication is particularly significant for its pioneering successful use of color-printed mezzotint in botanical illustration. The resulting combination of printed color and hand finishing gives the flowers wonderful depth, subtle tonal variation and a distinctly painterly quality. For interior designers, these original Weinmann botanical prints...

This rare mid-18th-century equestrian print is a hand-colored copperplate engraving from the celebrated riding and horsemanship work associated with William Cavendish, 1st Duke of Ne...

This rare mid-18th-century equestrian print is a hand-colored copperplate engraving from the celebrated riding and horsemanship work associated with William Cavendish, 1st Duke of Ne...

This rare mid-18th-century equestrian print is a hand-colored copperplate engraving from the celebrated riding and horsemanship work associated with William Cavendish, 1st Duke of Ne...

This rare mid-18th-century equestrian print is a hand-colored copperplate engraving from the celebrated riding and horsemanship work associated with William Cavendish, 1st Duke of Ne...

This rare mid-18th-century equestrian print is a hand-colored copperplate engraving from the celebrated riding and horsemanship work associated with William Cavendish, 1st Duke of Ne...

This rare mid-18th-century equestrian print is a hand-colored copperplate engraving from the celebrated riding and horsemanship work associated with William Cavendish, 1st Duke of Ne...

This rare mid-18th-century equestrian print is a hand-colored copperplate engraving from the celebrated riding and horsemanship work associated with William Cavendish, 1st Duke of Ne...

This rare mid-18th-century equestrian print is a hand-colored copperplate engraving from the celebrated riding and horsemanship work associated with William Cavendish, 1st Duke of Ne...

This rare mid-18th-century equestrian print is a hand-colored copperplate engraving from the celebrated riding and horsemanship work associated with William Cavendish, 1st Duke of Ne...

This rare mid-18th-century equestrian print is a hand-colored copperplate engraving from the celebrated riding and horsemanship work associated with William Cavendish, 1st Duke of Ne...

This rare mid-18th-century equestrian print is a hand-colored copperplate engraving from the celebrated riding and horsemanship work associated with William Cavendish, 1st Duke of Ne...

Original 18th-century French ornithological copperplate engraving by François-Nicolas Martinet (1731–1800), one of the most accomplished natural-history illustrators and engravers of...

Original 18th-century French ornithological copperplate engraving by François-Nicolas Martinet (1731–1800), one of the most accomplished natural-history illustrators and engravers of...

Original 18th-century French ornithological copperplate engraving by François-Nicolas Martinet (1731–1800), one of the most accomplished natural-history illustrators and engravers of...

Original 18th-century French ornithological copperplate engraving by François-Nicolas Martinet (1731–1800), one of the most accomplished natural-history illustrators and engravers of...

Original 18th-century French ornithological copperplate engraving by François-Nicolas Martinet (1731–1800), one of the most accomplished natural-history illustrators and engravers of...

Original 18th-century French ornithological copperplate engraving by François-Nicolas Martinet (1731–1800), one of the most accomplished natural-history illustrators and engravers of...

Original 18th-century French ornithological copperplate engraving by François-Nicolas Martinet (1731–1800), one of the most accomplished natural-history illustrators and engravers of...

Original 18th-century French ornithological copperplate engraving by François-Nicolas Martinet (1731–1800), one of the most accomplished natural-history illustrators and engravers of...

Original 18th-century French ornithological copperplate engraving by François-Nicolas Martinet (1731–1800), one of the most accomplished natural-history illustrators and engravers of...

Original 18th-century French ornithological copperplate engraving by François-Nicolas Martinet (1731–1800), one of the most accomplished natural-history illustrators and engravers of...

Original 18th-century French ornithological copperplate engraving by François-Nicolas Martinet (1731–1800), one of the most accomplished natural-history illustrators and engravers of...

An original early 18th-century English country-house engraving by Johannes Kip (Dutch, c. 1653–1721), combining architectural precision with a wonderfully decorative bird’s-eye view ...

An original early 18th-century English country-house engraving by Johannes Kip (Dutch, c. 1653–1721), combining architectural precision with a wonderfully decorative bird’s-eye view ...

An original early 18th-century English country-house engraving by Johannes Kip (Dutch, c. 1653–1721), combining architectural precision with a wonderfully decorative bird’s-eye view ...

An original early 18th-century English country-house engraving by Johannes Kip (Dutch, c. 1653–1721), combining architectural precision with a wonderfully decorative bird’s-eye view ...

An original early 18th-century English country-house engraving by Johannes Kip (Dutch, c. 1653–1721), combining architectural precision with a wonderfully decorative bird’s-eye view ...

An original early 18th-century English country-house engraving by Johannes Kip (Dutch, c. 1653–1721), combining architectural precision with a wonderfully decorative bird’s-eye view ...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains, villas, gardens and public spaces of Baroque Rome. The series was published in Rome under the direction of Giovanni Giacomo de’ Rossi (1627–1691), an important Italian print publisher whose firm produced some of the most influential architectural and topographical views of 17th-century Rome. The four-part Fountains of Rome series was created by Italian artists and engravers Giovanni Battista Falda (1643–1678) and Giovanni Francesco Venturini (active circa 1650–1700) under the directions of Giovanni Giacomo de'Rossi. Published together by De Rossi in 1691, the complete project comprised more than one hundred plates and became an important visual record of Baroque Rome. These detailed Italian architectural etchings depict not only fountains but also architecture, sculpture, formal gardens, piazzas and small figures that bring the historic settings to life. Examples from the Fountains of Rome series are preserved in major institutional collections, including The Metropolitan Museum of Art and Smithsonian Libraries. Each original etching was printed on period paper in the 1600s and retains the individual characteristics associated with a work more than four centuries old. Natural toning, scattered foxing, creases, irregular paper edges and other variations may be present and are consistent with authentic antique works on paper. These antique Italian architectural prints...