18th Century and Earlier Wall Decorations

Antique engraving titled 'Laurence Hyde Earl of Rochester'. Laurence Hyde, 1st Earl of Rochester, KG, PC (March 1642 – 2 May 1711) was an English statesman and writer. He was originally a supporter of James II but later supported the Glorious Revolution...

An exceptional and outstanding 17th century Oil On Canvas Painting from Madrid, Spain. Wonderfully executed in the style of Velazquez, depicting a M...

Stunning late 18th-early 19th century Italian painted and parcel carved giltwood architectural over door, architectural element or fragment. A ...

This powerful hunting scene is closely associated to the work of Antwerp-born seventeenth century painter and draughtsman Frans Snyders, widely considered the “progenitor of Flemish Baroque still-life and animal painting.” Having grown up surrounded by artists, Snyders was initially apprenticed to Pieter Brueghel the Younger (1564-1637/38), scion of a well-established family of painters. Like many of his contemporaries in Northern Europe, to complete his education he then travelled to Italy, staying mainly in Rome and Milan (1608-09). Once back in Flanders, his profile as a skilled young painter – who had refined his craft by studying the masters of Italian art – came to the attention of Sir Peter Paul Rubens (1577-1640), in whose Antwerp studio Snyders entered as an assistant in about 1610, and with whom he would go on to collaborate on a number of important commissions for years to come. In 1611, Snyders further strengthened his ties with the local community of painters by marrying Margaretha de Vos, sister to Cornelis and Paul de Vos, two artists with whom he would also regularly collaborate. Thanks to the lessons learned in Italy and in Rubens’ studio, Snyders soon achieved the ability to create rhythmic and dynamic compositions, infused with vibrant colours and powerful naturalistic effects. Centred on the theme of the still life, his market scenes and representations of richly stocked pantries and larders embodied the buoyant and confident spirit of seventeenth-century Antwerp, a trading port with a wealthy merchant class and aristocracy (Still Life with Dead Game, Fruits, and Vegetables in a Market, 1614, The Art Institute of Chicago; Still-Life with Fowl and Game, 1614, Wallraf-Richartz Museum, Cologne). Flowers from all seasons and dead game are portrayed alongside baskets overflowing with fruit, precious gilt vessels and Chinese Wanli porcelain...

Set of four architecture prints depicting various palace facades. These prints originate from 'Recueil Élémentaire d’Architecture' by ...

Title: "Aromatic Treasures of the Indies: The Enchanting Scents of De Bry’s Exotic Collection" Description: This intricate 1601 engraving from Theodore de Bry’s collection showcases...

Antique print China titled 'Ordo equitanis exercitus'. Old print depicting the cavalry. This print originates from the Latin edition of Nieuhof's w...

Untitled antique print with two views of Cairo, Egypt. 78: Palace of Sultan Gori. 79. Tower and aqueduct. This print originates from 'Reizen van Cornelis de Bruyn, door de vermaardst...

Title: "Baroque Elegance: Van der Horst's Staircase Engravings" Description: These detailed engravings from Tieleman van der Horst's "THEATRUM MACHINARUM UNIVERSALE" are a remarkabl...

Large oil on canvas after Pieter Casteels III [Flemish 1684-1749. The painting depicts a tale from Aesops Fables, "Jackdaw and Peacock Feathers". T...

This original antique hand-colored engraving by Johann Michael Seligmann is a representation of the Golden Thrush, derived from George Edwards' "Natural History of Uncommon Birds" and "Gleanings of Natural History." The artwork was part of Seligmann's own work, "Sammlung Verschiedener Auslandischer und Seltener Vogel," which translates to "Collection of Various Foreign and Rare Birds," published in 1749. The engraving contains several lines of text in different languages, likely identifying the bird and giving references to the work it was derived from. Here’s the transcription and translation of the visible text: - "Gallula Bengalensis." - This is Latin, likely the scientific name of the bird at the time, which translates to "Bengal Gallula" or "Bengal Thrush." - "N:o 80./VII.Heft." - This seems to be a reference to the plate number and the volume or issue number of the collection. - "Le Grive Dorée, Icterus." - In French, this means "The Golden Thrush, Icterus." 'Icterus' refers to the genus that includes birds commonly known as orioles, which are often characterized by their yellow and black plumage. - "Goldbrostel." - This could be an old or regional name for the bird in German, which might translate to something like "Gold Breast" referring to the bird's golden chest...

Original antique print of a bison. This print originates from 'Boeken op Google Play Beschryving van den Amerikaanschen gebulten stier, genaamd...

Country HouseAn exceptional mid-18th-century oil painting from the Studio of Pompeo Batoni (1708–1787), presenting a revered composition: The Madonna of the Annunciation. This rema...

"Globe Aerostatique" a gilt framed hand-colored Engraving, French circa 1787, after Claude Louis Desrais, (1746-1816.) A pastoral scene featuring a tricolored balloon at the center. ...

A monumentally scaled and most decorative Italian late 17th century Baroque Period Venetian st. patinated Wood and Giltwood wall decor. This most impressive wall decor/plaque is unde...

Magnus Jørgensen (1683-1738), Denmark. Painting: "Two Gentlemen at a Well-Laid Table." Signed: Magnus Jørgens(en) Pinxit et invenit Ao 1724. Oil on canvas, mounted in later black fr...

Antique map titled 'Accurate Carte der Upländischen Scheren mit der Situation und Gegend umb die Konigle Schwedisch Haupt und Residentz Stadt Stockholm.' Map of the area east of ...

An English Baroque rustic tapestry from the second quarter of the 18th century, centrally woven, featuring a rustic scene in the manner of David Teniers II, in which several villager...

A somber realism permeates this late 18th-century still-life oil painting, reminiscent of Heinrich Lihl's precise style from around 1780. Two deceased birds, their feathers meticulou...

Antique print titled 'Jean Budes Conte de Guebriant (..)'. Portrait of Jean Baptiste Budes, Comte de Guébriant, half-length directed to right and looking to front, with shoulder-leng...

An antique rectangular mirror inscribed in a Pinewood, gilded frame adorned with water leaves and pearl friezes, in good condition. The mirror is consisting its original mirror glass...

Antique print titled 'Der bei geringer und schlechter Kost vergnügte Pandur und Kroat'. Rare, original antique print of a Pandur and Croat having a meal. This print originates from a series published by Martin Engelbrecht...

Antique print titled 'Plate XXX. Seals of Nobility and great Men of Scotland'. Original antique print showing Seals of Nobility and important men of Scotland. This print originates f...

This print depicts various birds, native to South East Asia/Indonesia; OO: Waterpaeuw / Bintapoe / black-backed swamphen (Porphyrio indicus), W: swallow, S: Hitoe Sariwan / female ki...

This is a gorgeous antique 17th century Flemish Verdure Tapestry depicting the noble children playing in the woods. The p...

The image is an original antique handcolored plate from "A Natural History of English Insects" published in 1749 by Eleazar Albin. Albin, likely of German origin and known initially ...

Panoramic view of Geneva, Switzerland. Engraved and published in Amsterdam by Pieter Schenk (1660 - 1718/1719). Titles in Dutch, to left, and Latin. This print originates from Schenk...

A French Aubusson mythological tapestry from the late 17th century. This tapestry describes the myth of Pan and Syrinx after Ovide’s Metamorphoses. The God Pan pursues the nymph of t...

The engraving depicts a harrowing and chaotic scene from an 18th-century exploration, specifically the tragic event involving Commander Fleuriot de Langle and his men. The scene is s...

Architectural engravings by Jean-François de Neufforge (1714–1791). Neufforge was a Flemish engraver, architect, and publisher known for his work "Recueil élémentaire d'architectur...

Original antique map titled 'Circulus Saxoniae Superioris'. Original antique map of Saxony, Germany. The cities of Leipzig, Freiburg and many others are highlighted in gold. This map originates from 'Atlas Novus Terrarum Orbis...

Antique portrait titled 'Lodovicus D.G. (..)'. Portrait of Louis II, King of Hungary, Croatia and Bohemia. This print originates from 'Tooneel der keysere...

A lovely key hanger board made of iron, brass and copper. Found at an estate sale in Nuremberg, Germany. It is not marked. A nice addition to your collection. It is in very good as f...

Early Kano School painting of pine trees overlooking two beautifully painted cranes and floral design in a natural setting by water’s edge. Mineral pig...

Antique print titled 'Leodium'. View of Liège / Luik, Belgium with surrounding hills and the city wall. With text explaining the origins of Liège, a cartouche expressing thanks to th...

Wonderful set of 8 copper-plate engravings of monkeys after De Seve I particularly like the naivety of the drawings. Published C.1780 Unframed. Free shipping.

This original antique image is a historical depiction from "Suecia Antiqua et Hodierna," which translates to "Ancient and Modern Sweden." This was a significant work of the mid-17th century, initiated by Count Erik Dahlbergh...

Antique portrait titled 'Anne, Queen of Great Britain, France and Ireland'. Portrait, half-length in an oval on pedestal, wearing chain of the Garter and crown; coat of arms below. Artists and Engravers: Engraved by Robert Sheppard...

Francesco Aviani (Italy - Venice, 25-11-1662 / 1715) att. Couple of paintings depicting Capricci Oil on canvas, 135 x 183 cm, without frame The two large and fine paintings depict two illusionistic architectural renderings, with views of colonnades and arched buildings, animated by figures. The compositions are characterized by the harmony with which the painter introduces the sumptuous architectural monuments, the mirrors of water, the buildings in the distance and the views of the landscape. Dominates with a color on the tones of brown and ochre that stands out on the blue sky, marked by some cloud of steam. The insertion of the figures to enliven the architectural views also balances with the set. The Capriccio, an artistic genre that has made its way into Italian painting since the 17th Century, is characterized by the representation of fantastic architectures or prospective inventions, sometimes combined with elements drawn freely from reality. The two paintings are an example of this type and they are a very interesting and Fine artwork. The remarkable pictorial quality emerges both from the composition of the ensemble and from the way in which the artist describes the views with great attention to detail, highlights and refined, perfectly realistic, chiaroscuro. The same must be recognized for the figures: these are described with a wise brushstroke, quick and quick touches give the dynamism of the moment that is captured, as if time had stopped to show and narrate what is happening. The painting on the right represents a large Baroque building in stone and paved with marbles, two floors, with moving façade, large columns with corinthian columns, a large portal with a staircase with large footsteps, a balustrade with string, from which some figures appear, and two equestrian monuments in bronze. The sumptuous building overlooks a large POOL of water, with a gushing fountain, around which some characters sit. In the second floor is described a white palace from which rises a tower crowned by a structure with wrought iron loggia. In addition there is a bridge and some architectural ruins behind which some mountainous reliefs fade towards the horizon. On the staircase is described a particular scene. The people seem to be part of a very precise story. A woman, in the shadow of a parasol supported by a servant, would seem to drive out of the palace a man, who, taken under his arm by two maidens with a determined attitude, is led to a boat. The scene could be identified with the biblical episode of the parable of the prodigal son (Luke 15,11-32), at the moment when the prodigal son is robbed and driven away by the harlots. The episode tells of a man with two children. The youngest said to his father: “Father, give me the part of my inheritance”. And the father divided the substances. After not many days, the youngest son, collected his things, left for a far country and there he lost his substances with prostitutes and living as a debaucher. When he had spent everything, there came a great famine in that country and he began to find himself in need. Reduced to hunger, he was forced to be a pig herder to survive. He therefore meditated in his heart to go to his father and ask for his forgiveness and to be welcomed anew, even as a servant. While still on the road, however, the father saw him and ran towards him, receiving him with open arms. He then ordered his servants to prepare a great feast for the occasion, killing for the purpose the "fatty calf". The firstborn did not understand why his brother was given such treatment, and reminded the parent that he, who had always obeyed him, had never received a single kid to celebrate with his friends. The father answered him: «Son, you are always with me and everything that is mine is yours; but it was necessary to celebrate and rejoice, because this brother of yours was dead and came back to life, was lost and was found». The parable of the prodigal son was often portrayed in painting and the scene he finds most is certainly that of returning home in his father’s arms. Among the many is a canvas by the famous painter Giovanni Paolo Pannini (or Panini) (Italy – Piacenza, 1691– Rome, 1765) kept at the Hallsborough Gallery in London. Rather rare, however, is the scene of the prodigal son driven and robbed by harlots. There is an engraving by Hans Collaert II (1561-1620) in which this moment is described in the background compared to the moment, narratively later, in which he is penitent among the pigs. The second painting, certainly pendant of the first, represents a similar palace, with some characters overlooking the balustrade marcapiano and other figures around the large bathtub quadrilobata. In the foreground is described a monument with two large stone sculptures. In the distance some architectural elements and, beyond, the mountains are lost on the horizon. The studies related to the numerous painters of architectural views and caprices, active in Italy, and the archival documents found, which could better clarify commissions, biographies and certain works, are scarce and sporadic. Therefore there are still many difficulties in reconstructing a catalogue of autograph works for each author. Through paintings in private collections, in museums and paintings passed on the antique market it is however possible to advance some attributions in order to better delineate the various artistic figures. The style of the works studied here leads to a dating that runs between the 17th and 18th Centuries, with obvious influences dictated by the perspectives of the brothers Galli Bibiena. The analysis of the architectures and the chromatic palette suggests that we are in the presence of a northern Italian and Venetian author. Observing the decorations and the volutes, the brightness and the perspective disposition in fact, we find several analogies with those used by the Vicenza painter Francesco Aviani, excellent in pictorial perspective and architectural views. The biographical profile of Francesco Aviani (Italy - Vicenza, 1662-1715) was essentially traced in 1956 by Andreina Ballarin, then re-visited by Federica Spadotto in 2014 and Giancarlo Sestieri in 2015. Certain documents about his life are scarce, as are the documented works. He was born in Venice, probably on 25 November 1662, to Bernardo and a Magdalene whose surname is unknown, and was baptized on 3 December 1662. Between 1701 and 1703 he worked, together with his brother MarCo, sculptor, for the fresco decoration (now illegible) of the church villa in Soella (Vicenza). On October 16, 1703 he married Isabella Carcano. On March 26, 1715 he made a will and died on April 3 of the same year, in Vicenza. The frescoes in the refectory of the sanctuary of Monte Berico in Vicenza are considered authentic works by Aviani, probably made in 1708; the paintings preserved in the Civic Museum of Vicenza: “Landscape with Lazzaro and the rich Epulone”; “Christ among the doctors”; “The miraculous fishing”, works not datable but with attribution corroborated by style. In addition, the frescoes in the east and west corridors of the Villa La Rotonda, near Vicenza; the fresco in the apse basin of the chapel of the church S. Croce, Vicenza, now destroyed; the frescoes of the central hall of Villa Camerini a Montruglio (1714) and a painting of a “Porto Regio”, of which we have a print engraved by Dall'Acqua. From his works emerges the artistic background that animated the Venetian culture in the early eighteenth century. The scenic grandeur with which Aviani treats the architecture also suggests a stay in Emilia of the painter, in which he could have come into contact with the environment of the Bibiena. These contacts would be confirmed by the press of Cristoforo Dall'Acqua (Vicenza 1734-1787), “Il porto regio”, after a painting of Aviani. The press was part of a group of engravings, representing royal buildings, reproducing paintings of the Bibiena. In the eyes of Dall’Acqua, therefore, Aviani’s work was not foreign among those of the Emilians. Inside the sumptuous architectural whims, Aviani often depicts biblical scenes, in which the characters share the space and the narrative rhythm, along with figures drawn from everyday scenes, memories of the Veronese and Bassano heritage. Also in the works covered by this study the author does not seem to want to give up a biblical subject, though the purpose of the paintings appears to be clearly a staging scenography-architectural within which the characters are relegated to the role of extras. From the examination of the architectural Capriccio gathered under the name of Aviani then emerge common elements. The comparison between these works and the works in question highlights the proximity of the compositions. The imposing and scenic architectures are in fact equally characterized by the perspective-scenographic ability diffused in emilian “quadraturisti” and in Bibiena work. In fact, you can see the spectacular slender architecture in the lower part, the loggias that create chiaroscuro games with arches and binate columns placed on massive bases and overhung by projecting cornices. Significant also the comparison with two paintings with architectural whims in a night vision attributed to Francesco Aviani. In Aviani’s works it is possible to find a certain knowledge of the Roman Codazzi paint nd its early development of the eighteenth century, developed with the Locatelli, the Pannini and the less known Domenico Roberti. To Roberti have been recently attributed two works that have some compositional affinity with the canvases in question. The same can be done for a work on the antique market, attributed to Pietro Francesco...

Ceramic hand painted artwork of a plant by Catalan artist Diaz Costa, circa 1960. Framed. In original condition, with minor wear consistent of age and use, preserving a beautiul pat...

Antique portrait titled 'Sr. Edward Coke Lord Chief Justice'. Sir Edward Coke SL (1 February 1552 – 3 September 1634) was an English barrister, judge, and politician who is considered the greatest jurist of the Elizabethan and Jacobean eras. This print originates from Thomas Birch's 'The Heads of Illustrious Persons of Great Britain'. The portraits featured in the series, which were engraved by Jacob Houbraken and George Vertue...

Title: "The Elegance of the White Stork" Description: This exquisite hand-colored copperplate engraving, hailing from the late 18th century, captures the serene grace of the White s...

Title: "Venngarn Castle, Uppland: A Dahlbergh and Swidde Masterpiece, c. 1695" Description: This enchanting hand-colored copper engraving from circa 1695 captures the grand Venngarn...

Print by engraving on copper plate from the Panckoucke Encyclopédie méthodique, end of the 18th century,volume Marine Planches (more than 1,500 figures dealing with all subjects on the marina: planes, construction, carpentry, tree trunks, armaments of maneuvers, ropes, sails, artillery, ship maneuvers and combat tactics). This is the plate no. n. 24, pag. 69 fig. 341 ; with frame cm 38.3 x 31.5. Ship ropes are depicted. The Print has the "Benard direxit...

The title 'Quadrupede Nomme Kanguroo, Trouve sur la Cote de la N'le Hollande' refers to an uncolored engraving depicting a Kangaroo, originally found and described during Captain Cook's first voyage, later rendered by George Stubbs in the English account. This French version offers a portrayal of the Kangaroo encountered on the coast of New Holland (Australia) during that expedition. The Kangaroo illustration, an integral part of the narrative from Cook's exploration, became renowned due to its significance in the documentation of newly discovered fauna. George Stubbs, a celebrated artist, interpreted and immortalized this image in the English account of Cook's voyage. This uncolored engraving presents a historical representation of the Kangaroo, an iconic symbol of Australia's unique wildlife, as observed and documented during a pivotal period of exploration. The illustration stands as a testament to the scientific curiosity and documentation prevalent during early voyages of discovery, contributing to the understanding and documentation of the natural world in the 18th century. The print is in good condition, considering its age, but does have a few slightly visible vertical creases and some soiling. Nevertheless a very representable print of a few hunderd years old (1744). Description: This engraving is based on the first illustration of a “Kangaroo” an Australian species, drawn by George Stubbs from a specimen collected at Endeavour River in 1770 by James Cook’s crew while the Endeavour was being careened and issued in the official accounts of the voyage of the Endeavour. This iconic image captured the public’s imagination for over sixty years and was the first depiction of any Australian animal in western art. Confusion exists as to the original species described, based on the specimens brought back by Cook and the subsequent painting by Stubbs. This situation arose in the comparisons of drawings and photographs which are the only records of the lost original specimens, with Parkinson’s sketch made on 23rd June 1770 at Endeavour River and the later Stubbs painting...

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

We offer large sets of antique chinese porcelain plates for wall decoration. Plates in picture are an indication, actual stock might differ. Please contact us with a message to check...

Antique print religion titled 'Serapis een vermaarde Godheyd der Egiptenaaren'. Antique print of Serapis, a Greek/Egyptian god. This print originates from 'Mosaize historie der Hebre...

Antique print religion titled 'La Fête des Ames - 't Feest der Zielen'. Old print depicting the Buddhist festival of souls (Obon). This print originates from 'Histoire générale des Voyages' by A. Prévost. Obon (??) or just Bon (?) is a Japanese Buddhist custom to honor the spirits of one's ancestors. This Buddhist–Confucian custom has evolved into a family reunion holiday during which people return to ancestral family places and visit and clean their ancestors' graves when the spirits of ancestors are supposed to revisit the household altars. It has been celebrated in Japan for more than 500 years and traditionally includes a dance, known as Bon Odori. The festival of Obon lasts for three days; however, its starting date varies within different regions of Japan. When the lunar calendar was changed to the Gregorian calendar at the beginning of the Meiji era, the localities in Japan responded differently, which resulted in three different times of Obon. Shichigatsu Bon (Bon in July) is based on the solar calendar and is celebrated around the 15th of July in eastern Japan (Kanto region such as Tokyo, Yokohama and the Tohoku region), coinciding with Chugen. Hachigatsu Bon (Bon in August), based on the lunar calendar, is celebrated around the 15th of August and is the most commonly celebrated time. Kyu Bon (Old Bon) is celebrated on the 15th day of the ninth month of the lunar calendar, and so differs each year, which appears between August 8 and September 7. One exception was in 2008 and 2019, when the solar and lunar calendar matched so Hachigatsu Bon and Kyu Bon were celebrated on the same day. Kyu Bon is celebrated in areas such as the northern part of the Kanto region, Chugoku region, Shikoku, and Okinawa Prefecture. These three festival days are not listed as public holidays, but it is customary for people to be given leave. (Source: Wikipedia) Artists and Engravers: Jan van Schley, Dutch engraver. Condition: Very good, please study image carefully. Date: 1758 Overall size: 20.5 x 27 cm. Image size: 13 x 20 cm. We also offer thousands of antique prints covering fields of interest as diverse as architecture, natural history, religion, ethnology and many more. Antique prints have long been appreciated for both their aesthetic and investment value. They were the product of engraved, etched or lithographed plates. These plates were handmade out of wood or metal, which required an incredible level of skill, patience and craftsmanship. Whether you have a house with Victorian furniture or more contemporary decor an old engraving...

Engravings by Jean-François de Neufforge, a French architect and engraver from the 18th century. These images are part of his work "Recueil élémentaire d'architecture," an influentia...

Description: Antique religious print titled 'La Commemoration des Morts chez les Armeniens'. This print depicts the commemorating of the death of the Armenian christians. This pr...

Antique print titled 'Du Cabinet de Mr. Le Duc de Choiseul'. Engraving after the original painting by Philips Wouwerman. Scene of horse fair. Source unknown...

Important English school painting by the great artist Thomas Hudson (Devonshire 1701 - Twickenham 1779) It depicts the portrait of Harry Gray (1715-1768), 4th Earl of Stamford, a sub...

The illustration showcases the American Goldfinch (Spinus tristis), formerly known as Carduelis Americanus, perched gracefully upon a leafy branch. It is a detailed 18th-century re...

Antique print titled 'Ulysse & ses Compagnons (..)'. This print depicts Ulysses and his Companions avoiding the charms of the Sirens. Before his great journey, Circe warned Ulysses o...

Antique print titled 'Een Walvisch lang zo voeten, gestrandt op de Hollandtse zee-kust, tusschen Schevelingen en Katwyk, in Sprokkelmaandt, 1598'. Beautiful original antique print of...

Antique print titled 'Leoena - Leo'. Original antique print of a lion and lioness. This print originates from 'Historiae Naturalis De Quadrupetibus Libri I' by John Johnston, published by Matthias Merian in 1657. John Johnston (or Johnstone, 1603-1675) was a descendant of a Scottish family...

The engraving provided is titled "The Rejoicings of the Mexicans, at the beginning of the Age." It was included in Portlock’s "New Collection of Voyages and Travels," published in 17...