19th Century Wall Decorations

Beautiful French 19th-century large tapestry depicting a picturesque pastoral landscape with cranes, water, trees, a village, and a windmill. The finely detailed scenic composition i...

TITLE: Two Stems with Red Flowers – Original Botanical Watercolor by A.L., 1819 DESCRIPTION: A refined original botanical watercolor depicting two slender stems bearing vivid red flowers and delicately rendered green leaves, painted in 1819 by an unidentified artist with the initials A.L. The composition is elegant and restrained, with the flowering stems isolated against the natural cream-colored paper. The artist has carefully observed the structure of the plant, combining botanical precision with the decorative quality characteristic of early 19th-century flower studies. The work is monogrammed “A.L.” on the left stem and dated “1819” on the right. Particularly noteworthy is the paper itself, which bears the watermark “J. Whatman 1817.” James Whatman's celebrated English papers were highly regarded by artists and printmakers for their quality and durability. The watermark dates the manufacture of the paper to 1817, while the artist's inscription dates the execution of the watercolor to 1819. The two dates therefore provide an unusually clear chronology: the Whatman sheet was manufactured in 1817 and used by the artist for this botanical watercolor two years later, in 1819. An attractive and unusually well-documented original botanical artwork from the Regency period. ARTIST: A.L., unidentified artist. The work is monogrammed “A.L.” on the left stem. DATE: 1819 - dated on the artwork. MEDIUM: Original watercolor on paper PAPER: J. Whatman paper, watermarked 1817 ORIGIN: European, probably British or Continental European PERIOD / STYLE: Regency period Early 19th century Botanical / Natural History SUBJECT: Two stems with red flowers Botanical study Flower study DIMENSIONS: Image: approximately 29 × 16.5 cm Sheet: approximately 46 × 32.5 cm MARKS: Monogrammed “A.L.” on the left stem. Dated “1819” on the right. Paper watermarked “J. Whatman 1817.” CONDITION: Very good antique condition. The watercolor retains attractive and strong colors. Some light age-related toning and occasional minor foxing are present. A subtle former light line is visible, consistent with previous presentation beneath a passe-partout. The sheet was attached beneath a passe-partout along the upper edge. FRAMING: Offered unframed. Any framed or interior photographs shown are for presentation and inspiration only. AUTHENTICITY: An original, unique hand-painted watercolor dating from 1819. This is not a print, engraving or modern reproduction. KEYWORDS: botanical watercolor, original watercolor, botanical painting, flower watercolor, red flowers, botanical study, flower study, A.L. artist, monogrammed watercolor, dated 1819, Regency botanical art, Regency watercolor, early 19th century watercolor, 19th century botanical art, J Whatman, Whatman 1817, Whatman paper, English paper, antique botanical painting...

A small Danish coastal landscape by Karen Jensen, depicting a quiet stretch of water with several boats drawn up along the shore. The composition is arranged with a broad, pale sky a...

Woven from fine plant-fiber cloth, this piece is painted in ink with floral and botanical motifs — blossoms reminiscent of chrysanthemums, and branches that bring to mind a flowering...

Greater Bird of Paradise Male & Female Hand-Colored Lithograph, c. 1875 Description: Original antique hand-colored lithograph depicting a magnificent pair of Greater Birds of Paradise, identified beneath the image as “Der gemeine Paradiesvogel (Paradisea apoda).” The composition shows the spectacular male Greater Bird of Paradise perched above a female. The male is represented with his characteristic golden-yellow ornamental flank plumes cascading dramatically around the body, contrasting with his dark chest and greenish-yellow head and throat. Two extremely elongated tail wires descend beneath him. The more restrained brown plumage of the female provides a striking illustration of the sexual dimorphism for which birds of paradise became celebrated. Birds of paradise were among the most extraordinary exotic birds known to European naturalists and collectors. Early specimens reached Europe from the Indonesian archipelago without their feet, contributing to centuries of myths that the birds lived perpetually in the air. This history is reflected in the scientific name Paradisea apoda, meaning essentially “footless bird of paradise.” The plate is numbered Fig. 139 and bears the German title “Der gemeine Paradiesvogel.” It was produced for a German 19th-century natural-history publication and is a fine example of the period's increasingly sophisticated ornithological illustration. Although the composition is reminiscent of the celebrated bird illustrations associated with John Gould, I would not attribute this particular plate directly to Gould. The available evidence does not establish Gould as its artist or publisher, and the German typography and figure numbering indicate that it belongs to a separate German natural-history publication. Greater Bird of Paradise Paradisea apoda “Der gemeine Paradiesvogel” Fig. 139 German School c. 1870–1880 Original hand-colored lithograph This is an original antique print from the 19th century, not a modern reproduction. Condition: Good antique condition with overall age-related toning, scattered light foxing and minor spotting and marks, particularly within the margins. Some minor handling wear is consistent with age. The colors remain attractive and the principal image is well preserved. Please study the photographs carefully as they form part of the condition description. Period: Late 19th Century Style: Victorian Medium: Hand-colored lithograph on paper Subject: Greater Bird of Paradise Bird of Paradise Paradisea apoda Male and Female Birds Tropical Birds Ornithology Natural History Keywords: Greater Bird of Paradise, Bird of Paradise, Paradisea apoda, Paradiesvogel, Der gemeine Paradiesvogel, paradise bird, tropical bird, exotic bird, male bird of paradise, female bird of paradise, Indonesian birds...

This is a large antique Japanese paper sheet made from Hogoshi (反故紙)—discarded or repurposed sheets of handwritten paper that had previously served another purpose. Measuring approxi...

19th Century Rare French Majolica Reticulated Flowers Platter. 10.3 by 8.7 inches.  

An elegant and exceptionally charming French Aubusson Verdure tapestry panel from the late 19th- to early 20th-century Belle Époque era (circa 1890–1920). Exhibiting the masterfully...

Rare 19th century Majolica oyster plate with pastels colors, shells and seaweeds signed Gien.

A beautiful French zinc decorative horse head trade sign from the late 19th century with great details on the mane and musculature. France, circa 1880-1900. Beautiful weathered and s...

This antique anatomy print of the phrenic nerves and the opened thorax is an original 1866 hand coloured lithograph from Hirschfeld and Leveille's Nevrologie atlas, published in Pari...

19th Century Aubusson Tapestry – Fox Hunting Scene in the 18th Century Style A fine 19th century Aubusson tapestry, woven in the style of the celebrated French tapestries of the 18t...

Title: The Battle of Trafalgar, Admiral Nelson & British Fleet, 1805 Original antique 19th-century steel engraving depicting the Battle of Trafalgar, the decisive British naval victory of 21 October 1805 during the Napoleonic Wars. This dramatic maritime scene is after the painting by celebrated British marine artist Clarkson Frederick Stanfield, R.A. (1793–1867), and was engraved by John Cousen (1804–1880). The inscriptions beneath the image read: “C. STANFIELD, R.A. PAINTER.” “J. COUSEN, ENGRAVER.” “THE BATTLE OF TRAFALGAR.” “FROM THE PICTURE IN THE VERNON GALLERY.” The Battle of Trafalgar Fought on 21 October 1805 off Cape Trafalgar on the southwestern coast of Spain, the Battle of Trafalgar was one of the most important naval engagements of the Napoleonic Wars. The British Royal Navy, commanded by Vice-Admiral Horatio Nelson, confronted the combined French and Spanish fleet under Admiral Pierre-Charles Villeneuve. Nelson employed an unconventional attack, dividing his fleet into columns that sailed directly into the Franco-Spanish battle line. The resulting close-range engagement ended in a decisive British victory and confirmed Britain’s command of the seas. The battle became one of the defining events of British maritime history. Admiral Horatio Nelson & HMS Victory Vice-Admiral Horatio Nelson (1758–1805) commanded the British fleet from his famous flagship HMS Victory. Shortly before the battle commenced, Nelson ordered the celebrated signal: “England expects that every man will do his duty.” During the fighting, Nelson was struck by a musket ball fired from the French ship Redoutable and was mortally wounded. He died aboard HMS Victory during the battle, having lived long enough to learn that victory was assured. His death at the moment of triumph made Nelson a national hero and permanently linked his name with Trafalgar. The Scene Stanfield’s composition conveys the enormous scale, violence and confusion of a major naval engagement in the age of sail. Ships-of-the-line crowd the horizon, their towering masts and rigging emerging through smoke, spray and the dramatic sky. Several vessels are depicted fighting at extremely close quarters, recalling the devastating exchanges of cannon fire that characterized the battle. In the foreground, broken spars, wreckage and sailors struggling in the turbulent sea emphasize the human consequences of the engagement. The exceptionally wide composition gives the engraving an almost panoramic character and makes it particularly effective as a decorative maritime print. Clarkson Frederick Stanfield, R.A. (1793–1867) Clarkson Frederick Stanfield was one of the leading British marine painters of the 19th century. Stanfield had first-hand experience of life at sea before establishing himself as an artist. His knowledge of ships, rigging, changing weather and the movement of the ocean contributed to the convincing maritime atmosphere for which his work became celebrated. He was elected a Royal Academician and became particularly admired for his dramatic marine and historical paintings. John Cousen (1804–1880) The painting was translated into engraving by John Cousen, an accomplished English engraver known particularly for his landscape, architectural and marine subjects after important contemporary British artists. His finely worked engraving preserves the dramatic tonal effects of Stanfield’s original painting, from the dark turbulent foreground water to the distant ships disappearing into smoke and atmospheric haze. The Vernon Gallery The original painting was part of the important collection assembled by British businessman and philanthropist Robert Vernon (1774–1849). Vernon built an extensive collection devoted primarily to contemporary British art and presented his collection to the British nation in 1847. The inscription “From the Picture in the Vernon Gallery” records the important provenance of Stanfield’s original composition. Technique: Original antique steel engraving Artist: Clarkson Frederick Stanfield, R.A. (1793–1867) Engraver: John Cousen (1804–1880) Title: The Battle of Trafalgar Subject: Battle of Trafalgar Date depicted: 21 October 1805 Historical figure: Vice-Admiral Horatio Nelson British flagship: HMS Victory Historical period: Napoleonic Wars Origin: England Publication date: 19th century Style / Period: Victorian / 19th-century British maritime art Condition: Good antique condition with overall age-related toning, scattered spotting and foxing and minor staining. There is visible wear and some paper loss and irregularity to the outer edges and corners, particularly at the upper corners. Some minor handling marks and creasing are present, consistent with the age of the sheet. The engraved image itself remains strong, detailed and visually impressive. Please study the photographs carefully as they form part of the condition description. Please note: This is an original antique 19th-century steel engraving, not a modern reproduction. The print is sold unframed. Framed images or interior views, if shown, are for presentation and inspiration only. Keywords: Battle of Trafalgar, Trafalgar 1805, Admiral Nelson, Horatio Nelson, Lord Nelson, HMS Victory, Royal Navy, British Navy, Napoleonic Wars, Napoleon, naval battle, naval warfare, British naval history, maritime history, military history, sailing ships, ships of the line, antique maritime print, antique naval engraving, Clarkson Stanfield, Clarkson Frederick Stanfield, John Cousen, Vernon Gallery, British marine art, Victorian engraving, steel engraving, original antique print, 19th century maritime art

French aqua turquoise Majolica strawberry rectangular cake platter signed Sarreguemines Majolica, circa 1870.

Great image after Guido Reni Fine steel engraving Published by Fisher. Dated 1841 Unframed. Free shipping

Unusual French Majolica asparagus plate with 3 spaces unsigned, circa 1890.

Reply of the Zaporozhian Cossacks to Sultan Mehmed IV of the Ottoman Empire, also known as Cossacks of Saporog, Are Drafting a Manifesto. Late 19th Century. Monumental oil on can...

Rare 19th century Majolica oyster plate with pastels colors, shells and seaweeds signed Gien.

Title: Rare Persian Lustreware Albarello Chromolithograph, Henry Wallis, 1899 Description: An exceptionally rare original chromolithographic plate depicting a Persian albarello or apothecary jar from the 13th century. The vessel is richly ornamented with seated courtly figures framed by scrolling vegetal motifs and lustrous metallic decoration characteristic of the celebrated ceramic workshops of medieval Persia. Rendered in warm copper, gold, olive, and cream tones, the composition exemplifies the extraordinary artistic achievements of Persian lustreware production during the Seljuk and early Ilkhanid periods. The elegant figural imagery, combined with rhythmic arabesques and ornamental bands, reflects the refined visual language that made Kashan ceramics among the most admired luxury objects of the Islamic world. This plate originates from Henry Wallis's important folio Persian Lustre Vases, privately printed in London in 1899 in a strictly limited edition of only 200 copies. The publication remains one of the earliest scholarly studies devoted exclusively to Persian lustre ceramics, and individual plates from the work are today exceptionally scarce. This is an original 1899 chromolithograph and not a later reproduction. Sold unframed. Any images showing the print in a frame or interior setting are for visual impression only. Frame dimensions, matting proportions, and room presentations are not always to scale. Creator: Henry Wallis (1811–1891), published posthumously. Publication: Persian Lustre Vases, London, 1899. Date: 1899 Medium: Original chromolithograph on paper. Condition: Good antique condition with age-related toning, scattered foxing, and minor handling wear to the sheet edges consistent with removal from the original folio volume. The image remains bright, decorative, and well preserved. Provenance: From Persian Lustre Vases, London, 1899, privately printed in an edition limited to only 200 copies. Keywords: Persian art, Islamic art, Persian ceramics, lustreware, albarello, apothecary jar, Kashan pottery...

Sensational image by Gustave Doré From Milton's " Paradise Lost " Woodcut engraving Published C.1870 Unframed. Free shipping

This antique oval frame is a beautifully understated showcase of classic European design. Crafted in richly toned gilt wood, it features a warm, aged patina that highlights its subtl...

French Majolica chesnut leaf plate Sarreguemines, circa 1890.

Rare Large French Majolica Olives Leaves Platter signed Sarreguemines Majolica circa 1870. 13.8 by 13.8 inches.

French Majolica pink daisy plate Orchies, circa 1890.

Magnificently hand-crafted Arts & Crafts oak hall stand with stylish carved bat motif, beveled mirror, bronze coat hooks, brass umbrella rail and original storage compartment. This ...

A Swedish country Gustavian period hanging cabinet in pine featuring one door and interior shelves. Usable in a kitchen environment or by the entree of a house, to keep keys and smal...

This is a digitally remastered print of a Roseate Spoonbill referenced from an Audubon Birds of America hand coloured print, originally from the 1800's Prints of this style were ori...

French green Majolica leaves plate signed Montereau, circa 1890.

Green Majolica oyster plate, six white wells on a green basket weave, circa 1890 signed Longchamp.

Glorious set of 24 prints of English Kings Steel engravings with amazing decorative vignettes Published by Virtue C.1840 Unframed. The measurement given is the paper size of one...

This antique French needlepoint tapestry, circa 1900, presents an elegant vertical composition on a soft dusty rose ground, richly decorated with scrolling floral ornament, garlands,...

English green Majolica geranium plate, circa 1880.

This French circa 1897 oil on canvas painting illustrates a rustic landscape with a dirt road in the foreground leading the eye into the forested surroundings of a placid lake. The ...

This piece is a fragment of an old Japanese painting, cut out and mounted in a frame. It is thought to have originally been part of a folding screen or hanging scroll, and depicts a ...

Original Antique Print of an Atlas Moth by Bertuch, circa 1800 Original antique hand-colored copper engraving depicting the magnificent Atlas moth (Attacus atlas), one of the largest and most spectacular moths in the world. The plate is titled “Insecten XXVIII / Insectes XXVIII” and originates from Friedrich Justin Bertuch’s celebrated “Bilderbuch für Kinder,” published in Weimar around 1800. The enormous moth is shown with its wings fully extended across a flowering branch. Its richly patterned wings are beautifully rendered in shades of rust, ochre, cream, black and pink, with the characteristic translucent, window-like markings prominently displayed. The combination of the dramatically oversized insect and delicate botanical background makes this one of the more visually striking natural-history subjects in Bertuch’s series. The Atlas moth is native to the tropical forests of South and Southeast Asia and is renowned for its extraordinary wingspan. Its distinctive wing tips have often been noted for their resemblance to the head of a snake, possibly serving as a defensive adaptation against predators. The engraving bears the inscription “Jacob H. Schmuzer” at lower right. Friedrich Justin Bertuch (1747–1822) was a German publisher, writer and patron of the arts. His monumental “Bilderbuch für Kinder” (Picture Book for Children) was one of the great illustrated educational encyclopedias of the late 18th and early 19th centuries. Published in Weimar from 1790 onward, the work contained hundreds of finely engraved and hand-colored plates devoted to natural history, geography, science, technology, costumes and mythology. A particularly decorative and impressive antique natural-history print, well suited to collectors of butterflies and moths, entomology and early scientific illustration. Creator: Friedrich Justin Bertuch (1747–1822) Engraver: Jacob H. Schmuzer Source: Bilderbuch für Kinder Plate: Insecten XXVIII / Insectes XXVIII Place of Publication: Weimar, Germany Date of Manufacture: Circa 1800 Period: Early 19th Century Style: Neoclassical – In the Period of Medium: Original hand-colored copper engraving on paper Condition: Good. Wear consistent with age and use. Light age-related toning and occasional minor spotting. Some marginal wear and small imperfections, particularly along the right edge. Original hand coloring remains strong and attractive. Please refer to the photographs for further details of condition. Please note: This is an original antique print from circa 1800, not a modern reproduction. The print is sold unframed. Framed images or interior views, if shown, are for presentation and inspiration only. Keywords: Atlas moth print, Attacus atlas, antique moth...

French green Majolica leaves plate signed Montereau, circa 1890.

Small Majolica water lily pond plate Wasmuel, circa 1890.6 inches diameter , 8 plates available.  

Lofty 19th century organic turtle shell or carapace with all its iconic variegated colors and textures fitted with custom wall hanging hardware.

Wonderful set of 12 orchid prints. Lithographs after drawings mainly by W.Fitch Original hand color Published by Curtis. Dated 1837 and 1838 Unframed. Free shipping

English Victorian Majolica oyster plate, circa 1890.

French Majolica blue, pink and grey oyster plate unsigned from Fives Lille, circa 1890.

A striking and high-quality Neo-Gothic Vienna regulator wall clock, dating to the late 19th century and featuring a rare three-train movement with quarter-hour strike on two gongs. ...

Green Victorian Majolica sunflower plate Wedgwood, circa 1880.

Stunning and top quality carved Gothic cabinet from the late 1800s. An exceptionally refined wall-mounted cabinet in richly patinated oak, executed in a late 19th-century Gothic Rev...

French Majolica plate Onnaing Circa 1890. flowers and blackberries.

Title: Set of Four Antique French Medieval Military Costume Prints, circa 1860 Description: A decorative set of four original antique French engravings illustrating medieval knights...

Great images of monkeys Unframed. Lithographs after Cpt. Brown with original hand color. Published, 1847. The measurement is for 1 print Free shipping

Antique Louvre Pavilion Architectural Engraving, Paris French Neoclassical Print, 1803 A refined early 19th-century French architectural en...

American Fabric and Paper Figure of a Gentleman, Giltwood Frame on Velvet First Half of the 19th Century A dressed fabric-and-paper figure of a gentleman is shown in full-length pro...

Pair of Botanical Engravings from *The Botanic Garden* by B. Maund, London c.1836 An elegant pair of original hand-colored botanical engravings from *The Botanic Garden* by Benjamin...

Title: Collection of 10 Original Antique Tropical Fern Lithographs by E.J. Lowe, 1856 Description: An elegant collection of ten original hand-colored botanical lithographs depicting a remarkable diversity of tropical fern species from the celebrated botanical publications of Edward Joseph Lowe. Produced in London in 1856, these finely executed plates capture the graceful forms, intricate venation and distinctive reproductive structures that made ferns one of the greatest botanical fascinations of the Victorian era. The collection includes the following species, identified by their historical Latin names and corresponding English descriptive names: Polypodium latipes – Broad-Stalked Polypody Fern Polypodium karwinskianum – Karwinski's Polypody Fern Polypodium scolopendroides – Hart's-Tongue-Like Polypody Fern Polypodium simplex – Simple Polypody Fern Polypodium peltideum – Shield-Leaved Polypody Fern Polypodium spectabile (Pinna) – Showy Polypody Fern Polypodium terminale – Terminal Polypody Fern Polypodium palustre – Marsh Polypody Fern Polypodium concinnum – Elegant Polypody Fern Polypodium longissimum – Long-Leaved Polypody Fern Polypodium refractum – Bent or Recurved Polypody Fern The scientific names shown beneath the plates reflect the nineteenth-century botanical classification used by Edward Joseph Lowe. While many of these species have since been reassigned to other genera, the historical nomenclature remains an important part of the original publication. Several of the English names are descriptive translations, as no universally accepted common names exist today. Edward Joseph Lowe was one of the most influential British botanists of the Victorian period and a leading authority on ferns during the famous "Pteridomania" movement, when the cultivation and collection of ferns became immensely popular throughout Britain and Europe. His beautifully illustrated works successfully combined scientific accuracy with exceptional decorative quality and remain among the finest botanical publications of the nineteenth century. This collection presents an outstanding variety of fern forms, from broad pinnate fronds and finely divided foliage to deeply lobed and shield-shaped leaves. Displayed together, the ten prints form a harmonious botanical ensemble that is equally suited to a period interior, contemporary home or professional collection. Maker: Edward Joseph Lowe Place of publication: London Date: 1856 Technique: Original hand-colored lithographs Subject: Tropical ferns and botanical natural history Number of prints: 10 Condition: Good overall antique condition with age-appropriate toning, occasional foxing or small stains, and minor edge wear consistent with age and use. Some sheets retain small binding remnants or marginal irregularities from the original volume. Please study the images carefully. The prints are original antique lithographs, not reproductions. All items we offer are authentic period works of art over 100 years old. The pieces are sold unframed; any framed images are shown for presentation and interior inspiration only and may not always be to scale. Keywords: Edward Joseph Lowe, antique fern prints...

French Green Majolica Leaves Plate Salins, circa 1890.

Mater Dolorosa, 1899 German Chromolithograph of the Sorrowful Mother, Dresden This exquisite late-19th-century chromolithograph of the Mater Dolorosa—“Sorrowful Mother”—was printed ...

Christ Knocking at the Door, c.1900 German Devotional Chromolithograph (Printed in Germany) This beautiful early 20th-century German chromolithograph depicts one of the most tender ...

Antique China Punishment of the Bastinado Print – Thomas Allom, 1843 This striking antique print titled Punishment of the Bastinado was drawn by the English artist Thomas Allom and ...

Italian Grand Tour gouache of Mount Vesuvius erupting at night with a full moon over the Bay of Naples. In the original gilt wood frame. This is a very fine and large example of this...

Great image of The Battle of The Boyne Fine steel engraving after Benjamin West With a highly decorative figural border Published by London prin...

This antique Continental oil painting on board, dating to approximately 1880, depicts a vibrant floral still life. The artwork is sign...

Elegant blue and white oyster plate signed Bordeaux Vieillard, circa 1890. Six wells surrounded by blue seaweeds of different kinds. Ref / 2732.

Framed porcelain plaque depicting Russia's St Isaac's Cathedral with a statue of Peter the Great. In a modern giltwood frame.