18th Century and Earlier Wall Decorations

Untitled print depicting various ancient coins, illustrated with figures and animals. Originates from the first Dutch editon of an interesting travel account of Northern Africa title...

Great images of corals Copper-plate engravings Drawn and engraved by A.Bell Published C.1790 Unframed. Free shipping.

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

Italian school table of the 16th century "Crucified Christ with the Virgin, Saint John and Mary Magdalene" Oil on board Period frame 16th century ( gold frame parts ) Measures: 41cm ...

Large oil on oak panel (105 x 72 cm), portraying ‘The Feast of Balthazar’. Attributed to Frans Franken II and his workshop. The workshops of Antwerp spread throughout Europe, produci...

Exceptional tapestry from the 18th century Royal Manufacture of Beauvais. Representation of a woman wearing a crown of wheat around her head and playing the Tam-tam in the garden of ...

Title: Catholic Episcopal Rites – Rare 1734 Engraving of Bishop's Ceremonial Duties Description: This finely executed 18th-century copperplate engraving presents six distinct eccles...

Pair of 18th century Italian Venetian Rococo painted and gilt pine wall brackets.

18th C. Pair Hand Carved Wood Statues Wall mount Sculpture Regal Big Cats Lions .Exceptionally detailed high quality Large pair of Wall Art lions , outst...

17th century French Baroque wool and silk tapestry. Work of Felletin, ca 1690 France.

Set of four architecture prints depicting various building facades and plans. The prints state 'Toises', which was one of the fundamen...

All featuring the communes of northern France including Rethel, Dunkirk, Mouzon, Gravelines etc. Framed and matted. By C.N. Cochin. Uninspected out of frames. Likely 19th century.

Antique print titled 'View in Anamooka and the Inhabitants'. Depicts the marketplace that was established in a ring in front of the main house in Anamooka, Tonga - named the Friendly Islands because of his reception when James Cook's third Pacific voyage arrived there in May 1777. Artists and Engravers: Engraved for Bankes's 'New System of Geography'. Published by Royal Authority. Condition: Good, age-related toning. Please study image carefully. Date: c.1790 Overall size: 38.6 x 23.2 cm. Image size: 30.6 x 21.5 cm. A View at Anamooka This engraving after a drawing comes from the official account of Cook's third voyage, 'A voyage to the Pacific Ocean'. Captain James Cook (1728-1779) made three separate voyages to the Pacific (with the ships Endeavour, Resolution, Adventure, and Discovery) and did more than any other voyager to explore the Pacific and Southern Ocean. Cook not only encountered Pacific cultures for the first time, but also assembled the first large-scale collections of Pacific objects to be brought back to Europe. He was killed in Hawaii in 1779. Cook was in Nomuka (Annamooka), Tonga or Friendly Isles from May 1-14, 1777. "On May 2 1777 the expedition reached Nomuka and anchored in the harbour on the north side of the island, which Cook had already used in June 1774. Both ships were in want of refreshments. A camp was erected on shore both as a trading post and a workshop for repairs. Watering, cutting wood...

Carte des Isles de Java, Sumatra, Borneo – Decorative Map by Bellin & van Schley, 1750s This richly detailed and decorative map titled Carte des Isles de Java Sumatra Borneo & les d...

An antique Flemish landscape verdure tapestry from the late 17th century, envisioning two exotic birds in an idyllic woodland setting, with a stream separating the foliage in foregro...

Huge 17th C. Regal Flemish baroque Historical tapestry Royal court Antique LA CA . The period followed Renaissance and preceded Rococo and Neoclassical styles. The movement exuberant...

This detailed copper engraving is from Arnoldus Montanus' "Die Unbekannte Neue Welt oder Beschreibung des Welt-teils Amerika und des Sud-Landes," which offers a glimpse into the cere...

A fabulous pair of 18th century doors from the Catalan region of Spain. Terrific painted finish and original hardware. Wonderful to build in or as wall mounted artwork.

Italian School 17th century "Christ in the Temple" Oil/canvas/double, 106 x 118 cm. good condition

An antique 17th century Flemish mythological tapestry, size 9'1 H x 12'8 W, envisioning The Courtship of Apollo, with the Greek deity Apollo at left with his lyre and laurel garland,...

17th century old master oil painting of Saint Bernard of Clairvaux. Spanish school. Dramatic expression and perfect use of chiaroscuro, the art of light and shadow effects, makes th...

Antique Tapestry Rug in Wool and Cotton 11'9x9'2 Key Details: Pile: Wool Foundation: Cotton Origin: Tapestry Design: Pictorial Approximate Age: 16th century Quality (KPI): 3...

Illustration to an unidentified chapter of the Tale of Genji (Genji Monogatari) Tosa School (second half of the 17th Century) Ink, pigment, gofun and...

A fine and very large Aubusson tapestry, featuring a central Landscape scene elaborately depicting with exotic birds in the foreground, and a country home. The border with intertwine...

Two images on one sheet titled 'The Funeral Pomp of ye Royal Prince'. Two prints, one with a long burial train including numerous horses, carrying the coffin, covered with cloth. The...

Alberto Carlieri (Italy-Roma 1672-1720), "Christ and the adulteress", Oil on canvas, with frame cm H 115 x L 151 x 6.5, only canvas H 98.5 x L 135 cm...

"Guardian of Nootka Sound: A Lyddiker Etching from John Webber's Artistry" This engraving presents a compelling female figure from Nootka Sound, captured with the intricate detail c...

Title: 18th-Century Engraving of European Monarchies with Heraldry and Imperial Regalia This intricately detailed 18th-century engraving, *Statua Regum et Ropotorum P.C.N.*, offer...

Venus Visiting Vulcan, Achilles - Brussels Tapestry, Atelier Van Der Borcht No. 1455 Artist: In the Taste of Jan Van Orley (1488 – 1541) Period: 18th century Style: mythological Cond...

Hawks on plum and pine Soga Nichokuan (active circa 1625-1660) Pair of six-fold screens. Ink, mineral pigments, gofun, gold and speckled gold l...

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

A traditional Russian triptych of Christ and the Virgin of the Unfading Roses. The Mother of God and her son are shown wearing crowns and dressed in r...

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

This print is titled "RUINS OF PERSEPOLIS" and it showcases a detailed and colored engraving of the ancient ruins of Persepolis in Persia (modern-day Iran). The image portrays a se...

A late 18th century copy of a painting by Claude Lorrain titled, "Port scene with the Villa Medici" the original painted in 1637 and now hanging in the Uffizi Gallery in Florence. Th...

This is a gorgeous antique Late 17th Century Franco-Flemish Biblical Tapestry depicting the Reconciliation of Jacob and Esau. The tapestry illustrates the Old Testament story of Jaco...

A Franco-Flemish rustic tapestry, possibly Lille or Aubusson, from the late 17th century, featuring a rustic scene with a group of people singing and playing music in a verdant setti...

Pier Francesco Cittadini (Milan, 1616-Bologna, 1681) "Jacob and his family go to Egypt" Oil on canvas, cm 109 x 190 (canvas only) The valuable painting, made in oil on canvas, depicts Jacob and his family go to Egypt and we believe it can be, given the high quality painting, autograph work of Italian Pier Francesco Cittadini (Italy Milan, 1616 - Bologna, 1681) made after 1647. The work, in excellent condition is accompanied by a coeval frame in wood finely carved and golden. The scene depicted, which was confused with the Flight to Egypt in the past years, is instead identified with the biblical episode of Jacob’s journey. In the foreground, reading the painting from left to right, we see a caravan composed of animals, including donkeys, dromedaries, goats, dogs and horses and people, women, men and slaves, who carry on their journey along the banks of a river, following a path that to the right, would seem to lead to the through of a bridge. In addition to the watercourse is described an environment characterized by large rocks and impervious come far to cover the entire verticality of the canvas. On the left, in the distance, we see the tail of the caravan that runs along the steep path. Large trees enliven and harmonize the environment, as well as white and grey clouds characterize the predominantly clear sky and illuminated on the right by sunlight. The story is told in the Bible, Book of Genesis, 30, 25, passage in which is described the flight of Jacob from Haran after the contrasts with Laban, father of his wife Rachel. Jacob is the third great patriarch of the Bible. From his descendants originate the twelve generations of the people of Israel. He is the son of Isaac and Rebekah, who led him to flee from the wrath of Esau to Haran to seek refuge from his brother, Laban. At his uncle’s house Jacob met his daughter Rachel. As soon as he saw his cousin, Jacob was taken. Jacob will stay seven years in the service of Laban to marry his beloved Rachel. But Laban, with a deception, will give him in marriage first Lia, the least beautiful eldest daughter, and only after another seven years the splendid Rachel. From his first wife he will have several children, while Rachel will give birth to the beloved son, Joseph, who will become viceroy of Egypt. After years of service, Jacob asked to be paid with every dark-coloured garment among the sheep and every spotted and dotted garment among the goats. Laban accepted and sent away from his sons all the leaders of that kind. So Jacob took fresh branches of poplar, almond and plane tree, and flayed them, and put them in the troughs. The optical suggestion induced the goats and the sheep to conceive and give birth to dark, striped and dotted garments. He also ensured that all the strongest and healthiest leaders of the flock of Laban would drink near the barked branches, thus assuring a genetic superiority to his part of the flock. His flocks grew numerous and strong and he became richer than his relative, arousing envy. It was clear that Laban would not respect him much longer. At the suggestion of the Lord, Jacob decided to return to Canaan. Trying to avoid any possible dispute, he left with his family while Laban was absent for shearing sheep. But when, three days later, his uncle returned home, he became angry, feeling offended because Jacob had gone secretly and had not allowed him to greet his daughters and grandchildren. In addition, his teraphim, statuettes, or idols, which depicted the family deities, had disappeared. After 7 days of pursuit, Laban and his men reached Jacob’s group on Mount Gilead, in the mountainous region west of the Euphrates River, where his uncle and grandson had a stormy conversation. The younger man was outraged at being accused of stealing idols and told Labano to rummage through his family’s tents at will. Neither of them could know or even imagine that it was Rachel who took the idols and hid them in the saddle of the camel. During the search, she sat down firmly on the saddle, apologizing for not being able to get up, «because I usually have what happens to women» (Gen 31:35). So the loot wasn’t discovered. The author of this work was inspired by the composition of an engraving by Stefano Della Bella (1610-1664) of circa 1647. The engraving by Stefano della Bella bears the title "Iacob sur ses vieux jours quitte sans fascherie pour voir son filz Ioseph, sa terre et sa patrie" and is signed on the bottom left "Stef. of the Beautiful In. et fe." while on the right it is declared "Cum privil. Regis", that is with license of the king. Stefano Della Bella (Italy - Florence, May 18, 1610-Florence, July 12, 1664) was born in a family of painters, sculptors and goldsmiths and was left early orphan of his father sculptor, he dedicated himself first to the art of goldsmith at the school of Giovanni Benedetto Castiglione and Gasparo Mola, then turning his attention to drawing and engraving. He soon began drawing figures and copying the etchings of Jacques Callot, which inspired his early works. Under the protection of the Medici, in particular of Don Lorenzo, cadet son of Grand Duke Ferdinand I, Della Bella has the opportunity to make study trips to Rome, where he stayed from 1633-1636; In Rome he met French engravers and publishers of prints such as Israël Henriet and François Langlois, who influenced his decision to move to Paris in 1639, four years after the death of Callot. In Paris he soon reached, thanks to the engravings commissioned by Cardinal Richelieu, the success also worldly; he frequented courtiers, theatre artists and writers, while refusing too oppressive honors. In 1646-1647 he continued his travels in the Netherlands to Amsterdam, Antwerp and Dordrecht. He returned to Florence in 1650 and resumed working under the protection of the Medici court, working for his patrons. In 1656 he became a member of the Academy of Apatists. The painting object of this study is reasonably attributable to Pier Francesco Cittadini, or Pierfrancesco Cittadini, called the Milanese or the Franceschino (Italy - Milan, 1616-Bologna, 1681) as some exemplary stylistic comparisons proposed to follow can prove. Pier Francesco Cittadini was an Italian baroque painter, mainly active in Bologna. His artistic training first took place with the painter Daniele Crespi...

A French Aubusson rustic tapestry from the late 17th century, depicting several villagers on either side of a large tree in the right foreground, watching the cargo being unloaded from a large vessel docked by the verdant river bank at left, with the turbulent sea at center, and other ships docked by the riverside cityscape in the left distance. Enclosed by a narrow monochromatic border. Wool with silk inlay. Measures: 10’1” H x 13’9” W This tapestry was probably woven after a design by the French painter Claude-Joseph Vernet (1714-1789), renowned for his Marines, or maybe by his student Charles Grenier de Lacroix also known as Lacroix de Marseille...

Antique map titled 'Carte de Normandie (..)'. Attractive map of Normandy, France. it depicts the former French Duchy of Normandy, covers the region fro...

This exceptional antique map, titled "Nouvelle Carte Marine de Toute les Cotes de l´Amerique" and alternatively known as "Nieuwe groote en seer Curieuse Paskaart van Geheel-WestIndie...

A large antique oil on canvas painting entitled "Sacrifice to Minerva", circle of Francesco Solimena, attributed to Odoardo Vicinelli, dating from the mid 18th Century. The painting depicts a man standing, behind an altar, shielding himself from a kindling fire. To the left of the altar is seated Minerva, in classical flowing white robes, surrounded by a crowd of people. Francesco Solimena (4 October 1657 – 3 April 1747) was a prolific Italian painter of the Baroque era, one of an established family of painters and draughtsmen. Verso: Title, describtion, inventory marks and later restoration stamp: Aitken Dott & Son, Edinburgh 15 July 1970. Also bears an inscription attributing the painting to Odoardo Vicinelli: Odoardo Vicinelli, scholar of Giovanni Maria Morandi, flourished about 1750 an excellent master of the Venetian and Roman Schools, Provenance: Formerly at Letterfourie, Morayshire, and by descent, through the Gordon family Letterfourie House is a Georgian house in Moray Scotland, built by Robert Adam and completed in 1773 for Clan Gordon...

"Echoes of the Northern Shores: A Prince William Sound Woman in Lyddiker's Etching" This detailed engraving, crafted by the skilled hand of Lyddiker, is based on an original drawin...

A Large French Wooden Framed Oil Painting on Canvas, 18th Century (After) the school of Jean-Honoré Fragonard Provenance: Private Melbourne Collection. Dimensions: Height: 140cm. W...

18th century hand-colored engraving, with and unusual dynamic scene of a goddess riding a chariot pulled by two horses fighting off an attack by two griffins. With a heart-form in wh...

A pair of 18th century cast bronze heraldic crests, in the form of a lion passant, facing dexter, standing on a torse. The patination, condition, detail and quality all suggest the l...

Antique religion print titled 'Het kopere Waschvat, Tusschen de Tente der t'zamenkomst en den altaar'. Antique print of the Brass Laver in Solomon's Tem...

This 17th century Italian Baroque painting, executed in oil on copper, depicts the Crucifixion of Christ with remarkable depth and dramatic composition. Christ is shown on the cross...

"Convolvulus Jalapa Botanical Engraving - Icones Plantarum Medicinalium, 1788" Description This hand-colored engraving presents the Convolvulus Jalapa, commonly known as the Jalap b...

Fine 18th century portrait of a lady, unsigned, circa 1750, Sweden. (reframed, oil on canvas) According to old frame painted by Johan Horner (...

This engraving, titled "Witwen aus Florida, die Ihre Haare auf das Grab Ihrer Manner streuen" (Native American widows from Florida who scatter their hair on the graves of their dead ...

A Flemish verdure tapestry from the 18th century, depicting two exotic birds within a profuse landscape, with acanthus plants in the foreground, bloomin...

The Unjust Steward Engraving – Luke XVI Parable Scene 1735 This antique engraving illustrates the Parable of the Unjust Steward from the Gospel of Luke, Chapter 16, verse 5, publish...

Factory mark of De Porceleyne Bijl Factory. Each painted with scenes of peasants drinking or dancing in a village setting.

A late 18th century faience shelf or wall bracket in the form of a demon's face, losses to glaze in areas, with wear and chips overall.

English 18 century oil on canvas of horse and jockey painting in carved giltwood frame. This 18 th c English oil on canvas beautifully depict...

Traditional Russian icon made in the 18th century, depicting the crucifixion of Jesus who is surrounded by various saints such as St. Boniface and St. Nicholas on the top. It also in...

Beautiful original old print of a lioness and lion cubs. This print originates from Dr. Johann Schreber's 'Die Saugthiere in Abbildungen nach der Natur'(Mammals in Pictures after Nature). Drawn by Johann Elias Ridinger (1698–1767). Johann Christian Daniel von Schreber (1739–1810) was appointed professor of materia medica at the University of Erlangen in 1769. In 1774, he began writing a multivolume set of books entitled Die Säugethiere in Abbildungen nach der Natur mit Beschreibungen, which focused on the mammals of the world. Many of the animals included were given a scientific name for the first time, following the binomial system of Carl Linnaeus. From 1791 until his death in 1810, he was the president of the German Academy of Sciences Leopoldina. He was elected a member of the Royal Swedish...

Ludovico Trevisan (November 1401 Venice, Italy - 22nd of March 1465) was an Italian Catholic prelate, who was the Camerlengo of the Holy Roman Church, Patriarch of Aquileia and Capta...

Title: 18th Century Ethnological Engravings of Peruvians and Ecuadorians Description: These two 18th-century engravings, printed in 1756, are detailed depictions of the social and cultural life in Peru and Ecuador during the colonial era. Created by Quentin-Pierre Chedel (1705–1762), they are part of *Histoire générale des voyages* by Antoine François Prévost, a monumental collection that documented the world's exploration and cultural encounters. First Engraving (Residents of Peru): This print illustrates the residents of Lima, Peru, highlighting the various social classes and ethnic groups present in the region during the colonial period. The detailed engraving captures: A. Femme de Lima en Habit de Ville – A woman from Lima in formal city dress, representing the elite of society. B. Femme en Habit de Ménage – A woman in household dress, typical of a middle or upper-class domestic attire. C. Espagnol vêtu comme on l’est au Pérou – A Spanish man dressed as one would in Peru, showing the influence of Spanish colonial fashion on local attire. D. Mulatresse – A woman of mixed African and European descent, reflecting the diverse ethnic makeup of colonial Peru. E. Nègre Domestique – A domestic servant of African descent, showcasing the role of enslaved individuals in colonial households. The scene is set in a lush, natural landscape, with attention to the differences in social standing and attire. Second Engraving (Residents of Quito, Ecuador): The second engraving, although similar in style, depicts residents of Quito, Ecuador, and provides an ethnological view of the city’s diverse inhabitants. The composition shows: 1. Espagnole de Quito – A Spanish woman of high status, dressed elegantly, representing the colonial upper class in Quito. 2. Indienne de Distinction – An Indigenous woman of notable status, likely representing the local nobility or important community figures. 3. Barbier Indien – An Indigenous barber, reflecting the occupational diversity and social roles of the Indigenous population in colonial society. 4. Métive de Quito – A Métis woman from Quito, showing the mixed-race population that emerged during the colonial era. 5. Paysan Indien – An Indigenous farmer, indicating the essential role of agriculture and rural labor in the economy of colonial Ecuador. 6. Indienne du Commun – A common Indigenous woman, dressed in traditional attire, representing the majority of the Indigenous population. Like the first engraving, this print captures the varied ethnic and social dynamics in a colonial society, with figures placed in a landscape setting, emphasizing the connection between people and their environment. These engravings are not only artistic representations but also important historical records of colonial Latin America...