Set 18 Italian Engraved Portraits of Artists & Scholars by Carlo Lasinio, c1795

Set of Three Hand Colored Copper Wheel Engraved Floral Prints by John Hill c1756. One print signed in the plate, "I Hill." Published in England and hand colored. From an edition of 6...

A collection of 18 framed prints from engravings of musical instruments from the book by Gabinetto Armonico, which was published in 1722. The book had a total of 150 instruments. The...

Set of 4 hand colored Antique Engravings of Garden Architecture by Van Laar, circa 1802. Prints are from "Magazijn van Tuinsieraden," Amsterdam, ...

Hand-colored lemon botanical engravings attributed to Giovanni Battista Ferrari's "Hesperides, sive, De Malorum Aureorum culture etude Libri Quatuor." This was Giovanni's masterpiece publication of citrus published in Rome in 1646. It is considered to be one of most precise and decorative botanical works of 17th century Europe. Each copper plate print is protected by a hand-drawn and marbleized mat...

"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. ...

Set of 8 Sterling Silver Teaspoons in the Heraldic Pattern by Meriden/International Silver Company, c1880.

Carlo Lasinio (1759-1838) Four hand-colored engravings from Lasinio's Ritratti Originali de Pittori Esistenti Nella Reale Galleria de Firenze, published from 1791-96. The entire pu...

Set of 4 Colored etchings by Carlo Lasinio (1759-1838) of the Logia del Vaticano by Raffaello d'Urbino (1483-1520). Carlo Lasinio was one of the first printers in Florence to produce...

Carlo Antonini (Italian, 1740-1821). Twelve antique engravings of architectural rosettes from throughout historic Italian buildings. Each depicts the profile and face view of the ros...

Captain James Cook, depicted in a period-style coat with a cravat. His hair is styled in a manner typical of the late 18th century, combed back and ...

A fine example of an 18th-century botanical engraving. Created by Carlo Antonini between 1777 and 1790, it showcases a detailed depiction of a flower in full bloom. The illustration is highly detailed, with individual petals, stamens, and shading rendered with precision, indicating a high level of craftsmanship and attention to detail that was characteristic of botanical illustrations of the period. The image is likely part of a larger work, perhaps a botanical compendium or study, which would have been used for both scientific study and artistic appreciation. The text at the bottom of the print, "Rarone Antico nel Foro di Nerva," analysed: The phrase "Rosone Antico nel Foro di Nerva" could potentially be translated as "Ancient Rosette in the Forum of Nerva." Breaking down the phrase: - "Rosone" typically refers to a "rose window," a large circular window with mullions and tracery radiating in a form suggestive of a rose, commonly found in Gothic architecture. However, in this context, without the surrounding content, it might refer to a specific design or feature that is described as "antique" or ancient. - "Antico" means "ancient" or "antique," indicating that the item or feature referred to as "Rosone" is of historical significance or from a past era. - "Foro di Nerva" refers to the Forum of Nerva, which is one of the Imperial Forums in Rome. Therefore, the phrase seems to describe an ancient or historically significant rosette (or possibly a design or feature similar to a rose window) located in the Forum of Nerva. This might be referencing a specific architectural detail or decorative element that was part of the forum's structure or adornment. For a detailed analysis or historical context, you would typically need to consult historical texts, architectural studies, or archaeological reports related to the Forum of Nerva. The style of the print suggests that it was created using engraving techniques that involve incising a design onto a hard surface (like a copper plate), which was then inked and used to produce the image on paper. This method allowed for reproductions of the design and was commonly used for scientific illustrations because it could capture intricate details with great accuracy. Such prints would have been important in the 18th century for the dissemination of botanical knowledge, contributing to the fields of botany, horticulture, and medicine. They also reflect the Enlightenment's value on reason and empirical evidence, where plants were not only appreciated for their beauty but also studied for their structure and utility. Carlo Antonini's notable work includes a series of 85 etchings that were published in Rome in 1780, dedicated to Count Stanislao Potocki. This collection, titled "Serie di LXXXV disegni in varie grandezze composti dal celebre pittore Salvator Rosa publicati ed incisi da Carlo Antonini," consists of reproductions of Salvator Rosa's 'Figurine' series and other prints. It includes various pieces like a title-page with a coat of arms, a dedication, a preface, and several other individual works ranging from small prints to larger ones, such as depictions of mythical and historical scenes. The etchings were printed in sanguine ink, indicative of the period's artistic preferences for printmaking. These works are an example of Antonini's precision in reproducing another artist's work and are recognized for their faithfulness to Rosa's original designs. Additionally, Antonini is associated with other works such as the "Manuale di varj ornamenti componenti la serie de' vasi antichi," a collection that includes designs and engravings of ancient vases, and prints dedicated to the Duomo Di Orvieto. Another significant piece is his engraving titled "Prospetto degli Orti Farnesiani sul Monte Palatino," which was created in collaboration with Francesco Panini...

Antique portrait titled 'Franciscus I (..)'. Portrait of Francis I of France. This print originates from 'Tooneel der keyseren ende coningen van christenryck sedert den onderganck va...