1840s Wall Decorations

Antique costume print titled 'Jésuite missionnaire à la Chine'. Original antique print of a Jesuit in China. This print originates from 'Moeurs, usages et costumes de tous les pe...

Title: Handcolored Engraving of African and Charrúa Men, Paris 1849, from d'Orbigny's 'Dictionnaire Universel d'Histoire Naturelle' This rare and striking handcolored engraving, c...

Description: Antique print titled 'Madrid'. View of the city of Madrid, Spain. Source unknown, to be determined. Artists and Engravers: Engraved by S. Davenport. Published by ...

A stone's throw from the Eiffel Tower We are a family business specializing in the purchase, sale and expertise of old, modern and contemporary tapestries, rugs, kilims and textiles....

Antique print titled 'Japanesisches Fussvolk Musiker'. Original antique print of Japanese infantry musicians. This print originates from 'Die Volker des Erdballs (..)' by H. Berg...

Description: Antique print, titled: 'Mammiferes Plate 10 - Crane de Chiens des Esquimaux, Crane de Chien d'Islande.' This rare plate shows the skulls of the Eskimo dog and the Ic...

Great image of a bat. Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. brown with original hand color. Published...

Antique print titled 'Trappiste'. Print of a Trappist Monk reading a Bible. This print originates from 'Histoire et Costumes des Ordres Religieux'. The Trappists, officially known as the Order of Cistercians of the Strict Observance and originally named the Order of Reformed Cistercians of Our Lady of La Trappe, are a Catholic religious...

Description: Antique print titled 'Sydney in New-South-Wales'. View of the city of Sydney, Australia. Originates from 'Meyers Universum'. Artists and Engravers: Joseph Meyer ...

19th-Century Hand-Colored Lithograph of Insect Life Cycles – Moths, Bees, and Caterpillars with Host Plants This illustration is a detailed entomological plate showcasing various st...

Antique print titled 'Japanese von Stand und sein Diener'. Original antique print of a Japanese nobleman and his servant. This print originates from 'Die Volker des Erdballs (..)' ...

Antique map titled 'Carte de l'Afrique Propre de la Numidie (..)'. Map of the empires of Mauritania, Carthage and Numidia (Barbary Coast). This map originates from 'Atlas univers...

William Henry Simmons (British, 1811-1882) Hand-tinted engraving after a painting by Anson Ambrose Martin. sight: 29 ½ by 20 ½ inches frame: 37 by 28 inches

Antique portolano, nautical map of Golfe De St. Drely engraved on a copper plate by Antoine Roux, Marseille France 1844, from his work Recueil des principaux plans des ports et de Ra...

Rectangular in a gilt wood frame. Men with horses and wagons on road with dog. Thatched house on hill. Signed lower left. John Frederick Herring. Unabl...

This beautiful boiserie panel depicting an allegory of Spring and the Arms of France was hand-painted in France, circa 1840. Boiserie is ornate wooden paneling that covered walls and ceilings of luxurious chateaus in France. The use of these panels became more prevalent at the end of the 17th century, before exploding in popularity during the 1700’s, thanks to multiple installations at the Palace of Versailles. Lengthy paintings such as this (ours is over 112 inches long) would often be placed above a doorway, forming a continuous theme with the rest of the room. The arrival of Spring is depicted by four winged cherubs frolicking among pink, white, and yellow flowers. None of the cherubs are clothed, although two of them are draped in colored textiles. The putto on the far left has a billowing peach colored material hanging from the left shoulder as he holds a sheer piece of fabric. The transparent veil stretches across most of the canvas, extending to the right hand of a female cherub wearing a jeweled tiara on the far right. On the same side of the canvas, but more medial, is another putto loosely draped in green fabric. To the left is the fourth cherub, a female with a laurel leaf tiara that is holding onto the edge of the Arms of France. A gold oval medallion, adorned with volute scrolls at the top and bottom, encircles a representation of the coat of arms of France from the Bourbon Restoration (1814/1815-1830). There is a large, curled leaf rising from the top volute with a husked border surrounding the light blue background with three gold fleur de lys. Our magnificent French painting gives off a warm and lively feel. Although it could still be used as part of a boiserie room...

Title: "Traditional Eleuth Warrior Attire in 1844 Lithograph" Description: This hand-colored lithograph titled *Eleuthe* (Eleuth) portrays a man from the Eleuth tribe, a subgroup of the Oirat Mongols. The image is part of Auguste Wahlen's "Moeurs, Usages et Costumes de tous les Peuples de Monde" (Customs, Manners, and Dress of All the Peoples of the World), published in 1844. The print was created by an anonymous engraver after Wahlen's designs, with notable contributions from artists such as Evrard Duverger, L. Markaert, and R. King. The lithograph is enhanced with Arabic gum on vellum paper, adding a bright gloss and deepening the colors. Notable Features of the Attire: - Helmet: The warrior wears a distinctive helmet, possibly crafted from metal or leather, which suggests a readiness for battle. The helmet design is typical of Mongolian and Central Asian tribes, providing protection while maintaining mobility. - Coat: The long, fur-lined coat is characteristic of the Eleuths, suited to the cold climates of Central Asia. The coat is intricately patterned, showcasing both practicality and status. - Sword: The sword hanging by his side is a symbol of his warrior class. The hilt appears to be ornately decorated, hinting at a higher social rank or experience in battle. Cultural and Historical Insight: The Eleuth people were part of the broader Oirat confederation of nomadic Mongols who lived in what is now Xinjiang and parts of Central Asia. Their warrior culture was highly developed, and this lithograph captures the essence of a soldier's dress during the 19th century. The attire shown here reflects both the harsh environment and the martial lifestyle that characterized their existence. Keywords for Searching: People searching for prints like this might use terms such as "Eleuth warrior lithograph," "Wahlen 1844 Mongolian print...

Title: "Chinese Merchant with Sail Cart from Wahlen's 1844 Lithographs" This hand-colored lithograph titled *Marchand Chinois – Voiture à voile* (Chinese Merchant – Sail Cart) is fr...

Title: "Vibrant 1844 Handcolored Lithograph of Siberian Tschuktsches Family" This print is a handcolored lithograph from the 1844 collection "Moeurs, Usages et Costumes de tous les ...

American portrait oil on canvas of a young ship captain holding a spyglass with a sailing ship, crew in rowboat, and gulls in lower background mounted in the original decorative gilt...

An original handcolored antique print featuring a series of illustrations of moths. Each moth is meticulously detailed, showcasing a variety of wing patterns and colors. The visual s...

Pair of subtly hand colored lithographic prints of specimen mushrooms from the book titled "Illustrations of British mycology, containing figures and descriptions of the funguses of ...

Cotton quilt square with floral appliques cut from a printed chintz and redesigned as a wreath with floral sprigs in the corners. Signed & dated in ink in...

The illustration is a collection of various shells, likely representing both gastropods and bivalves: 1. **Télescope vulgaire** - Possibly named for its elongated, tubular shape, re...

Great image of a bat. Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. brown with original hand color. Published...

Goldfinch Fine large folio stipple engraving with hand colour. On Turkey Mills Wattman paper. Overall dimensions: 35.3 x 26 cm Issued in Brookshaw’s scarce monograph: Six...

This print presents a fascinating collection of historical helmets and headpieces, each representing a unique style and period. At the top left, there is a helmet with a visor and ne...

Title: "Armaments of Yore: A Study of Medieval Helmets and Armor" Description: This pair of prints presents a detailed study of medieval combat gear, showcasing the intricate design...

Title: "Civic Pride: A Podestà's Robe in 'Costume du Moyen Âge'" Description: This detailed lithograph from the 1847 "Costume du Moyen Âge" collection features a Podestà, a chief ma...

Title: "Medieval Discourse: A Moment Between Officials in 'Costume du Moyen Âge'" Description: This vibrant lithograph, extracted from the 1847 publication "Costume du Moyen Âge," i...

This hand-colored engraving, titled "Sergent d'Armes," depicts a Sergeant at Arms from the Middle Ages, a role that historically combined duties of law enforcement, security, and ceremonial functions within the royal court. The figure stands in a poised and authoritative stance, dressed in a rich blue doublet with full sleeves, edged with a yellow patterned trim that denotes his official capacity. The doublet is belted at the waist, accentuating the length of the garment which falls to the mid-thigh, a typical fashion of the period for men of status. Over the doublet, he wears a cape that drapes over one shoulder, suggesting readiness for action. The cape, matching the doublet in color and trim, reinforces his dignified position. His hose are golden, fitting snugly and shimmering in contrast to the matte finish of the doublet, indicative of the esteem of his office. The sergeant...

Description: This original antique print, labeled "Jeune Italien, No. 2," which translates to "Italian Youth, No. 2," depicts a young man in what appears to be a Renaissance-period a...

Title: "Devout Reflection: A Medieval Bourgeoise in Prayer" Description: This print presents a serene image of a woman, labeled as a bourgeoise, engaged in an act of devotion. Her a...

Title: "Le Chevalier Gifford de Léchampton: The Gallant Knight" Description: This print portrays the knight Gifford de Léchampton in full regalia, stand...

Title: "Renaissance Youth: The Italian Page" Description: This print depicts a young Italian page, a common figure in Renaissance courts, whose duties often included serving nobilit...

This print presents a dignified portrait of Louis XII, King of France, known for his prudent and just reign. Standing in profile, the king is depicted in royal attire that is both la...

This print represents King Henry VI of England, depicted in a regal and contemplative pose with hands clasped in prayer. He is dressed in a blue robe with a pattern that suggests opu...

This original antique print for sale shows a figure labeled "Plebeien," which is French for "Plebeian," indicating that this individual is a commoner. The person is depicted in a long, bright yellow robe with a hood, which drapes in wide folds to the ground, a style that might have been worn for warmth or work by common people during certain periods in history. The individual is gesturing outward with his right hand, perhaps in conversation or pointing towards something of interest. The expression on his face appears engaged and animated. The simplicity of the robe, despite its vibrant color, suggests practical clothing rather than the more ornate attire of the upper classes. The color could signify a particular role within the community, a trade, or simply be a choice of personal attire. The title suggests the active role of the plebeian within the community and the everyday setting in which he belongs. Egg whites can be applied as a varnish over pigments to enhance their brightness and to protect the colors. This application could make the colors appear more vivid and also add a slight glossy sheen to the surface of the image. Egg yolk, on the other hand, was commonly used as a binding agent in paint. It forms the basis of tempera paint, a medium that was widely used before the advent of oil painting. Egg yolk helps to create a durable and long-lasting color that adheres well to various surfaces. In the context of the print from 1847, it's less likely that egg whites or yolks were used directly on the print, as by that time, commercial printing processes would have been more advanced and less reliant on such manual methods. However, if this print is a representation of an earlier style or is meant to mimic the appearance of hand-painted manuscripts...

The original antique print shows a seated figure labeled "Muger plebeia," which translates from Spanish to "Plebeian Woman" or "Common Woman." The woman is dressed in a simple yet elegant manner, indicative of the common people of the time. She is wearing a long dress in a pinkish hue with a red overdress or tunic, which drapes gracefully around her. On her head, she wears a blue hood that covers her hair, which was typical for women during various historical periods to denote modesty or as a fashion statement. Her seated position and the presence of the cane suggest rest or perhaps age. The simplicity of her clothing, without elaborate jewelry or adornments, signifies her status as part of the lower social class, although her clothing is neat and well-kept. Egg whites can be applied as a varnish over pigments to enhance their brightness and to protect the colors. This application could make the colors appear more vivid and also add a slight glossy sheen to the surface of the image. Egg yolk, on the other hand, was commonly used as a binding agent in paint. It forms the basis of tempera paint, a medium that was widely used before the advent of oil painting. Egg yolk helps to create a durable and long-lasting color that adheres well to various surfaces. In the context of the print from 1847, it's less likely that egg whites or yolks were used directly on the print, as by that time, commercial printing processes would have been more advanced and less reliant on such manual methods. However, if this print is a representation of an earlier style or is meant to mimic the appearance of hand-painted manuscripts...

The image depicts a figure labeled as "Noble Allemand," which means "German Noble." The nobleman is shown kneeling on one leg, with his hands raised in what could be a gesture of exc...

The image portrays a figure labeled "Chanoine," which is French for "Canon," referring to a clergy member who is part of a cathedral or a collegiate chapter. The individual is depicted in ecclesiastical robes that reflect his status within the church hierarchy. The canon is shown wearing a long, pink robe with a decorative stole over it, which is adorned with Christian symbols and patterns indicating his religious office. Over the robe, he wears a black mozzetta, a short cape that is typically worn by higher clergy in the Roman Catholic Church. He also has a white almuce, a fur-trimmed hood or shoulder cape worn by canons, draped over his left arm, and he is holding what appears to be a book of scripture or liturgy. His head is adorned with a biretta, a square cap with three or four peaks...

This original antique print depicts a person labeled as "Jeune Vénitien de la Calza," which translates to "Young Venetian of the Calza." The Calza was a Renaissance cultural associat...

"Martinet coiffe" translates to "Crested Swift" in English. The Crested Swift is a bird species known for its distinctive crested appearance, often found in various parts of Africa a...

1. PIGEON-COLOMBE DE BOLIVIE, 2. PIGEON-COLOMBAR A GORGE POURPREE, 3. PIGEON-LOPHYRE GOURA. – (1. Bare-faced Ground Dove, 2. African Green Pigeon, 3. Gou...

Antique Portrait of George Washington, by William Matthew Prior (American: 1806 - 1873), circa 1840s, an oil on board quarter-length portrait of George Washington, after the famous, ...

Redstart Fine large folio stipple engraving with hand colour. On Turkey Mills Wattman paper. Overall dimensions: 35.3 x 26 cm Issued in Brookshaw’s scarce monograph: Six ...

Great image of parrots. Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after cpt. Brown with original hand color. Publish...

Tom Tit & Redpoll Fine large folio stipple engraving with hand colour. On Turkey Mills Wattman paper dated 1819. Overall dimensions: 35.3 x 26 cm Issued in Brookshaw’s scarce mon...

Depicing a genre scene in the Baroque style showing a dark vs light contrast imitated throughout the 18th and 19th centuries, placed in a later Regence style frame this oil on canvas...

Wonderful image after Garofalo Fine Steel engraving. Published by Jones C.1840 Unframed.

Title: Der Bison (American Bison) - Hand-Colored Zoological Print, Circa 1840 Description: This exquisite hand-colored lithograph, titled "Der Bison" (The Bison), showcases the *B...

Antique print titled 'Jesuite Missionnaire a la Chine'. Print of a Jesuit Missionary in China. This print originates from 'Histoire et Costumes des Ordres Religieux'. Artists ...

Textile of the Royal Manufacture of Aubusson of the 19th century. Representation of some flowers. Perfect state of a peacock in some of greenery. Reinforced by a fabric on the bac...

Exquisite porcelain painting in original gilded frame Manufactory: KPM Royal Porcelain Manufactory Berlin, Germany Dating: circa 1840 Material: Porcelain, painted, glossy finish...

These beautiful hand-colored botanical illustrations, drawn and lithographed by the renowned artist Walter Hood Fitch, were featured in Sir William Jackson Hooker's *"Curtis's Botanical Magazine,"* published in London in 1847. Fitch was one of the most prolific and skilled botanical illustrators of the 19th century, known for his ability to capture the intricate details and vibrant hues of the plants he depicted. Sir William Jackson Hooker, a famous British botanist and the director of the Royal Botanic Gardens, Kew, commissioned these illustrations as part of his work to document newly discovered plants from around the world. The *Curtis’s Botanical Magazine* has been published since 1787 and remains one of the longest-running botanical periodicals. Detailed Descriptions of Each Plant #### 1. **Dipladenia Rosa-campestris** (*Hortul. ex Veitch*) - **English Name**: Rose Dipladenia - **Description**: This illustration showcases *Dipladenia rosa-campestris*, a striking flowering plant known for its showy pink to deep red trumpet-shaped flowers. Native to tropical regions of South America, particularly Brazil, *Dipladenia* belongs to the family Apocynaceae and is prized in horticulture for its vibrant blooms and ability to climb. Fitch's illustration emphasizes the waxy leaves and the vivid color of the petals, bringing the plant to life on the page. #### 2. **Begonia fuchsioides** (*Hook.*) - **English Name**: Fuchsia-flowered Begonia - **Description**: The *Begonia fuchsioides* is depicted with its characteristic red, pendulous flowers, which closely resemble the blooms of fuchsia plants. This species of Begonia is native to tropical regions and is popular for its delicate, bell-shaped flowers and glossy leaves. Fitch’s attention to the arrangement of the leaves and the contrast between the flowers' vibrant red and the soft green leaves provides a lifelike representation of this exotic plant. #### 3. **Agalmyla staminea** (*Blume*) - **English Name**: Staminate Agalmyla - **Description**: This illustration captures the unique red tubular flowers of *Agalmyla staminea*, a plant native to Southeast Asia. The species is part of the Gesneriaceae family and is known for its bright, showy flowers that grow in dense clusters. Fitch’s careful rendering of the plant’s leaves and the intricate veining, along with the vibrant red flowers, highlights his talent for bringing the botanical subject to life with both scientific accuracy and artistic flair. ### About the Makers #### **Walter Hood Fitch** (Artist and Lithographer) Walter Hood Fitch (1817–1892) was one of the most influential botanical artists of the 19th century, working primarily with Sir William Hooker and later his son, Joseph Dalton Hooker, at Kew Gardens. He produced thousands of illustrations for various botanical publications, including *Curtis’s Botanical Magazine*, where he was responsible for the majority of its plates from 1834 to 1877. Fitch’s mastery of lithography allowed him to create richly detailed and accurate depictions of plants, with a particular talent for illustrating both the botanical structure and the vibrant colors of flowers. #### **Sir William Jackson Hooker** (Director and Editor) Sir William Jackson Hooker (1785–1865) was a prominent British botanist and the director of the Royal Botanic Gardens, Kew. Under his leadership, Kew Gardens expanded its collection of plants from around the world, and Hooker was instrumental in promoting the scientific study and illustration of these species. As the editor of *Curtis’s Botanical Magazine*, Hooker collaborated with Fitch to document and share the beauty and diversity of plants with the scientific community and the public. ### The Lithographic Technique Lithography, particularly chromolithography, was a crucial innovation in botanical illustration. Fitch was skilled in the traditional method of lithography, where an image was drawn onto a stone plate with a greasy substance and then inked for printing. Hand-coloring was often applied afterward to bring the prints to life, as seen in these illustrations. This method allowed for highly detailed, accurate representations of plants and their botanical features, making it invaluable for both scientific study and aesthetic appreciation. ### Conclusion These prints from *Curtis’s Botanical Magazine* reflect the height of botanical art in the mid-19th century. The combination of Walter Fitch...

Antique Danish or Scandinavian mangle board (clothing and bedding press) dated 1941. It has this text cut into it: KM JDR 1841 and a short text painted on both sides of the handle. I...

Great image of a bee-eater Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. brown with original hand color. Publ...

Very cute small jardiniere to hang in the wall. In Meissen Germany porcelain, circa 1840, Excellent quality. Model snowball, the little bird and the ...