Mid-19th Century Wall Decorations

Title: 19th-Century Hand-Coloured Lithograph of Medieval Catapults and Siege Engines Description: This finely hand-coloured lithograph features two intricately designed 'medieval ...

Title for catalogue: The Castle of Stolzenfels on the Rhine, 1840 Detailed description: This vibrant chromolithograph from 1840 offers a striking view of the Castle of Stolzenfels...

The engraving titled "Newmarket in the last Century, Morning on the Warren Hill" dates to 1840 and was published by R. Ackermann, a noted London publisher based on Regent Street. Thi...

Title: 19th-Century Hand-Colored Lithograph of Giant Moths and Silkworm Life Cycle – A Masterpiece in Natural History Art Description: This exquisite 19th-century hand-colored li...

Title: "Union Bridge: By-Town, Ottawa River" – 19th-Century Hand-Colored Lithograph Description: This charming hand-colored lithograph, titled "Union Bridge: By-Town, Ottawa River,"...

The print illustrates a variety of fossilized marine creatures, specifically cephalopods and gastropods, as well as coral: 1. **Élément d'ostreidé** - This could refer to a part of ...

This handcoloured lithograph titled "Jeune fille indoue de la haute classe" depicts a young high-class Indian woman adorned in traditional attire. The print is part of Auguste Wahlen's "Moeurs, Usages et Costumes de tous les Peuples de Monde," published in 1844. This lithograph utilizes handcolouring techniques to enhance the vividness and detail of the traditional Indian saree, which is characterized by its bright pink and green hues and intricate draping style. The saree, a timeless symbol of Indian femininity, is elegantly wrapped, showcasing the elaborate textile craftsmanship of India. The woman's jewelry, including bangles and necklaces, reflects the cultural importance of adornments in Indian society, often indicating social status and personal wealth. This print is captivating due to its rich depiction of cultural attire and the graceful demeanor of the woman, which together illustrate the refined aesthetic and social codes of India's upper class during the 19th century. The lithograph not only serves as a beautiful piece of art but also as an important cultural document that provides insights into the traditional attire and societal norms of historical India. Keywords: - Antique Indian prints...

Great image of crocodiles and alligators. Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. Brown with original ha...

Antique print titled 'Englisches Jagdpferd'. Lithograph of an English hunting horse by Karl Joseph Brodtmann (1787-1862), one of the most accomplished ...

Title: Portraits of Indigenous People of New Zealand Description: This compiled image features detailed lithographic portraits of Ind...

Rare Antique Insect Engravings: 19th-Century Natural History Trio with Vibrant Colors This set of three original antique engravings originates from Gottlieb Tobias Wilhelm’s cel...

Great image of an Indian and a lesser two horn rhino Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. brown with ...

Capucine - 1862 Hand-Colored Lithograph of a Capuchin Nun This 1862 hand-colored lithograph portrays a Capucine, or Capuchin nun, seated serenely by a stone bench. She is dressed ...

The image is a hand-colored engraving titled "Louis IX," representing the 13th-century King of France, also known as Saint Louis, renowned for his Christian zeal and justice. It is p...

This is an illustration of a soldier from Venice, known as a "Soldat Vénitien." The image is likely from a historical or military costume book, detailing the dress and equipment of v...

Title: 19th-Century Hand-Coloured Lithograph of Ornate Medieval and Renaissance Shields Description: This beautifully hand-coloured lithograph presents four distinct medieval and ...

Title: 1855 Swiss Victory Parade – Captured Burgundian Cannons Escorted by Bernese Troops Description: This exceptional hand-colored lithograph, created by H. Jenny and lithographe...

Scenic View of Milk River and Missouri Junction with Wildlife in 19th Century Landscape This captivating lithograph depicts the serene landscape near the junction of the Milk and ...

Wonderful image after Veronese Fine Steel engraving. Published by Tallis, London. circa 1850 Unframed.

19th-Century Hand-Coloured Jousting Scene: Armoured Knight and Striped Caparisoned Horse This remarkable original hand-coloured lithograph, produced in 1842, is drawn from the est...

19th-Century Hand-Coloured Lithograph of Knightly Combat with Heraldic Horses This remarkable original hand-coloured lithograph, produced in 1842, captures a striking moment from t...

Antique costume print titled 'Shah de Perse'. Original antique print of a Shah of Persia. This print originates from 'Moeurs, usages et costumes de tous les peuples du monde' by Augu...

19th-Century Lithograph of Pine Marten, Beech Marten, and Ermine in Nature This beautifully detailed 19th-century lithograph depicts three members of the mustelid family in a natu...

Title: 19th-Century Hand-Coloured Lithograph of Ornate Knightly Helmets with Plumes Description: This beautiful hand-coloured lithograph showcases four knightly helmets, adorned with elaborate designs and striking plumes, reflecting the grandeur and artistry of medieval and Renaissance armor. It originates from the 1842 publication *Der Rittersaal: Eine Geschichte des Ritterthums*, created by Friedrich Martin von Reibisch and Dr. Franz Kottenkamp, which celebrated the history, customs, and craftsmanship of European chivalry. The illustration highlights the following helmets: 1. The first helmet features an elegant design with a tall, feathery white plume accented by rich red and blue flourishes, likely for ceremonial or jousting use. 2. The second helmet is a more functional design, featuring a visor with decorative ventilation holes, used for protection in battle. 3. The third helmet has a compact, close-fitting form with a golden accent on its crest, emphasizing its practical design for combat. 4. The fourth helmet stands...

Title: Columbia River Junction with Des Chutes – A Majestic River Landscape Description: This captivating lithograph depicts the dramatic junction of the Columbia River with Des Chu...

The Jousting Tournament: Knights in Combat Description: This hand-colored lithograph showcases an intense moment in a medieval jousting tournament, with two knights charging at ea...

19th-Century Hand-Coloured Lithograph of a Multi-Level Medieval Siege Tower This impressive hand-coloured lithograph features a detailed depiction of a multi-level medieval siege ...

Title: Scenic Depiction of "Dalles" - A Majestic View of Indigenous Life Along the Columbia River Description: This exquisite lithograph titled "Dalles" captures a serene yet dynami...

Magnificent Jousting Tournament Print with Hand-Coloured Knights and Horses, 19th c. This striking original hand-coloured print, likely created in the mid-19th century, captures t...

Napoleon Shows Mercy to Princess Hatzfeld, 1806 - Emotional Historical Engraving This striking 19th-century engraving portrays the poignant scene of Princess Hatzfeld imploring Napo...

Antique print titled 'Ptychosperma rumphii - Ptychosperma angustifolia'. Original antique print of palm species. This print originates from 'Rumphia' b...

19th Century American Antebellum Portrait of a Lady, Original Giltwood Frame Oil on Canvas 36-inches high x 30-inches wide Apparently Unsigned USA, Circa 1850s This 19th-century ...

Title: Tinted Lithograph of Kettle Falls on the Columbia River, 1856 Description: This stunning lithograph, "Kettle Falls, Columbia River," captures the raw power and striking g...

View of the Wangari Cape with a Maori Canoe (New Zealand) This detailed engraving illustrates a traditional Maori waka (canoe) gliding across the waters near Cape Wangari, New Zeala...

This hand-colored engraving depicts a dramatic battle scene titled "St. Domingue - Prise de la Ravine aux Couleuvres" (Capture of the Ravine of Snakes in Saint-Domingue). The image s...

An exquisite set of three English circa 1840 shellwork pictures in original giltwood frames composed of various Caribbean or West Indian seashells depicting fanciful designs of a fol...

English oil on canvas painting of horse in stable with the gilt & burl frame. Signed & Dated "J. Brown Coventry 1866"

Hand-Colored Botanical Lithograph of Rapeseed and Poppy, Calwer, 1854 This stunning botanical lithograph is from Carl Georg Calwer’s *Deutschlands Technische Pflanzen* (1854), a d...

Title: Collaborative Fishing at Jervis Bay: Astrolabe Sailors and Indigenous People Description: This engaging lithograph, circa 1836, depicts a lively scene at Jervis Bay, New Ho...

Antique map of Long Island, Southold, Shelter Island, Orient, Great details, Names of homes, Roads and Businesses in 1870. Unframed. This is...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

A large scale antique Tudor / Jacobean revival oak wall panel carved with the date '1868' among various floral and geometric carved panels. This stunning period oak panel was reclaim...

The John James Audubon double elephant folio chromolithograph Plate 389 No. 6-4 Crested Grebe from Birds of America. Podiceps Cristatus. Adult ...

19th Century country French walnut pannetiere ~ breadbox was considered essential to any well-appointed home back in the days before supermarkets and ordering groceries online. Every...

19th-Century Hand-Coloured Lithograph of Knightly Helmets with Vibrant Plumes Description: This striking hand-coloured lithograph features four elaborately decorated knightly he...

19th-Century Hand-Coloured Lithograph of Swords, Axes, and War Hammers Description: This finely executed hand-coloured lithograph features an impressive display of medieval and Re...

19th-Century Hand-Coloured Lithograph: Ornate Jousting Knights with Striking Heraldry This exceptional original hand-coloured lithograph, dating to 1842, offers a vibrant and detail...

These two lithographs are part of a series depicting Aboriginal people from Australia, originally drawn by the artist Nicolas-Martin Petit during the expeditions of French explorer N...

Mexican Indians Bringing Flowers and Fruits to Market, Lake Chalco, 1866 This vibrant hand-colored wood engraving, published in Harper's Weekly on November 10, 1866, beautifully i...

These antique wall hanging tapestries were handwoven in France, circa 1860. Called "Portiere", each tapestry in a pastel beige, pink, green, and blue palette, features a central bouq...

This lithograph, created by Karl Joseph Brodtmann, depicts Tawadanega, an individual whose name suggests Native American heritage, likely from one of the Eastern Woodlands tribes. Th...

This captivating artwork, Framed Signed John Louis Brown (1829-1890) Autour du Lac Oil on Board, presents a refined lakeside scene brimming with elegance and charm. The composition f...

Title: Hand-Coloured Lithograph of Armoured Knight and Horse in Tournament Dress Description: This exquisite hand-coloured lithograph presents a fully armoured knight mounted on a similarly armoured horse, highlighting the grandeur of medieval tournament culture. Drawn from *Der Rittersaal: Eine Geschichte des Ritterthums* (1842) by Friedrich Martin von Reibisch and Dr. Franz Kottenkamp, the plate exemplifies the craftsmanship of tournament armor and equestrian regalia. The knight is clad in articulated plate armor, intricately engraved and polished to perfection, reflecting the martial prowess and status of a noble warrior. He holds a ceremonial poleaxe, often seen in jousts or tournaments as both a practical weapon and a symbol of chivalry. His plumed helmet, adorned with vibrant red and yellow feathers, adds an element of spectacle befitting a medieval tournament. The horse is draped in a richly patterned caparison, a cloth covering adorned with intricate geometric designs, likely symbolizing the knight's heraldic identity. The ornate horse armor...

These original antique prints are beautiful examples of botanical illustrations featuring tropical plants, drawn with precise detail and coloration. The Latin and English names of th...

19th-Century Hand-Coloured Lithograph of a Knightly Joust in Bold Red and Green This rare and original hand-coloured lithograph, produced in 1842, transports the viewer back to the ...

Title: Original Hand-Coloured Knightly Combat Print from 'Der Rittersaal', Stuttgart, 1842 Description: This striking original hand-coloured lithograph originates from 'Der Ritter...

Title: Rare Tinted Lithograph of Istanbul, 1852 Description: This exquisite tinted lithograph depicts a vibrant view of Istanbul, crafted by L. Haghe after Fossati and Gayer. Produc...

19th-Century Hand-Coloured Knights Jousting in Ornate Black Caparisons This splendid original hand-coloured lithograph, created in 1842, captures the elegance, drama, and artistry...

Title: 19th-Century Hand-Colored Lithograph of European Butterflies – Admirals, Tortoiseshells, and Peacocks in a Natural Setting Description: This vibrant 19th-century hand-colo...

German Travelers - After Lucas Cranach, 1840 - Hand-Colored 19th Century Engraving This charming hand-colored engraving, titled "Voyageurs" ('Travelers'), is based on a design inspi...