George III Wall Decorations

Lovely Georgian giltwood picture frame Carved pine with shallow gesso and gilt Original patina Internally or sight measures 19.25 x 24 inches. 48.5 x 61 cm Free UK shipping

An exquisite circa 1790 equestrian oil on canvas of a red-coated and bewigged gentleman fox hunter with outstretched arm and hand holding cap, 'riding to hounds' on a galloping bay h...

This is a large scale Georgian style faux grandfather clock. It is wall mounted and battery operated. The black lacquer features detailed chinoiserie sciences throughout the body. It...

A spectacular and exceptionally rare pair of English, possibly Irish, George III circa 1800 wall brackets or shelves in 'Rustic' style, the cusped shaped tops in original 'red ochre' paint with period brass hanging tabs, the tapering 'bodies' composed of fully gilded twigs and rootwood in original finish. Provenance: The collection of Sir John Boorman at The Glebe, Annamoe, County Wicklow, Ireland. The 'Rustic' style in design emerged in Great Britain from the 'Picturesque' movement within Romanticism of the 18th century as a quiet rebellion against the formality of Baroque and Neoclassical architectural styles and was largely ephemeral due to it's inherently specific application; that it being intended for the 'cottage orné', follies, and grottos of the landed gentry. Frances Collard states "Rustic furniture, particularly that made of untrimmed branches and roots, appeared in the designs of Thomas Chippendale and Thomas Johnson and were featured in an anonymous work published by Josiah Taylor's 'Architectural Library, "Ideas for Rustic Furniture", from 1790-5". The Duke of Buccleuch...

ANTIQUE ORIGINAL GEORGE III SILK AND GILT THREAD NEEDLEWORK EMBROIDERY A charming depicting of a young woman holding a lamb in a landscape. The artist has expertly used different t...

2 portraits, late 18th century, oil on board.

Geo III mahogany 2 drawer wall shelf, C1785. The shelf has 4 equally spaced tiers, 2 drawers with original brass pulls and inset locks. The sides beautifully fret carved. Trent Antiques has been a respected name in antiques for over 30 years with a large collection of period furniture, art, books...

Thank you for your interest in this pair of giltwood wall sconces. Nicholas Wells Antiques is pleased to present a pair of very fine carved giltwood ...

Presenting a lovely 19C Aquatint Engraving of the Quay at Waterford in Waterford city in Ireland. This engraving has been hand embellished with aquatint color(s) and is from Ireland circa 1820-40. It features a scene of the Quay or Port of Waterford from circa 1820. We are basing this upon the attire of the figures in the engraving and the tall ships. It features Reginald’s Tower (still located at the Waterford Quay to this day). Georgian Quay buildings, a number of moored tall ships and row boats, barrels, horses and carts, women and British soldiers. The engraving was professionally reframed and matted in Dallas in the 1980’s and the rear of the frame says that it was “Museum Mounted and Matted”. The frame has a lovely Grecian pattern around the front. If you are Irish...

This atmospheric early 19th-century British landscape depicts a solitary figure with a dog crossing open countryside beneath a wide, luminous sky. Executed with expressive, craggy br...

Adorning the walls, two gracefully framed botanical engravings from 1771 capture nature's elegance in exquisite detail. Delicate strokes of...

Fine Art, Charles Henry Scwanfelder (1774-1837). Signed C H Schwanfelder Pinx and dated 1825. An exceptional portrait of a horse standing proud in woodland, in front of a tree-lined vista incorporating cows residing by a stream. Charles born in England, the son of a German decorative painter started his career helping his father painting clock faces and snuff boxes and became renowned in his own right for his animal paintings, later being appointed by George III and George IV. Exhibiting at the Royal Academy between 1809 and 1814. His works can be found at - Temple Newsam House, Lotherton Hall, York Museum trust, National Trust, Florence Court, Leeds City Museum and Galleries, The Ferens Art Gallery and Newstead Abbey...

Late 18th to Early 19th Century Portrait of a Sea Captain, by Charles Delin (Netherlands: 1756-1818), circa 1810, a fine period oil on canvas quarter-length portrait of Captain Mellens, an elegant gentleman in navy blue woolen double breasted sea coat, with high starched collar shirt and neck cloth, unsigned; retains an old collection label on the reverse identifying the artist and subject. The painting remains in fine condition, in its original carved and gilded frame. Although identified by name, we could not find any additional information on the sitter. The name and clothing indicates that the captain was American or English. The artist Charles Delin was highly regarded in his day and specialized in sea captain portraits...

Antique Darning Sampler, 1791, by Ann Manning. The sampler is worked in silk threads on a linen ground, in a variety of stitches. Comprises of 15 darning p...

18th century English noblewoman in a gold gilt ornate period frame. Lovely detail and color, coat of arms in corner. Unsigned. Without the frame the painting itself measures 29 inche...

A large oil on canvas depicting a youthful father with his three children, two of which are behind him playing musical instruments, the daughter with her harp and son playing the flute. A third child with his back to the painter faces his father. The painting is presented in a carved and gilded wood frame. Like the great majority of Opie's work, this painting is not signed or stamped. Opie lived at No 8 Berners Street where he moved in 1791, the street famous for artists, composers and instrument makers. Jacob Erat the famous harp maker lived in the neighbourhood and moved to 23 Berners Street before his death in 1821. This painting could be the painting referenced in John Jope Rogers, "Opie and his Work" Truro 1878, Page 220, entitled 'Musical Party'. Provenance: Charles St. George Quechee, Vermont; New England Private Institution; Sotheby's New York April 7, 1989, Lot 1, as John Opie, Portrait of a Gentleman and his three children; Private collection Connecticut. John Opie RA, (May 1761 – 1807), was a Cornish historical and portrait painter. He painted many great men and women of his day, including members of the British Royal Family, and others who were most notable in the artistic and literary professions. Opie's artistic abilities eventually came to the attention of a local physician and satirist, Dr John Wolcot (Peter Pindar). Recognising a great talent, Wolcot became Opie's mentor, buying him out of his apprenticeship and insisting that he come to live at his home in Truro. Wolcot provided invaluable encouragement, advice, tuition and practical help in the advancement of his early career, including obtaining many commissions for work. In 1781, Opie moved to London with Wolcot, having entered into a formal profit-sharing agreement with him. Although Opie had received a considerable artistic education from Wolcot, the doctor chose to present him as a self-taught prodigy. A portrait of a boy shown at the Society of Artists the previous year had been described in the catalogue as "an instance of Genius, not having ever seen a picture." Wolcot introduced the "Cornish wonder" to leading artists, including Sir Joshua Reynolds, who was to compare him to Caravaggio and Velazquez, and to prospective patrons. The business arrangement with Wolcot lasted for a year after which Opie informed the doctor that he now wished to go it alone, leading to the estrangement of the two former partners. Through the influence of a Mrs Boscawen, Wolcot managed to have Opie introduced at the court of King George III. The king purchased one of his pictures and commissioned him to produce a portrait of Mary Delany...

An exceptional pair of mid-18th century carved and water gilt wall brackets profusely carved with acanthus leaves and swags of plump roses, ripe fruits, harebells and flower heads. ...

Originally gilded or painted. With a gadrooned edge to the demilune shaped shelf, the bracket with a rocaille carved shell and pierced scroll and flower head carving. From a Newport ...

20th Century cross-stich framed embroidery of King Charles seated with the Duke of Gloucester on his lap and Princess Elizabeth over backside. A dog is seated towards the right, and...

Pair 18th Century South Staffordshire Enamel Plaques , oval shape, painted with pastoral views, circa 1760

A magnificent pair of late 18th century George III giltwood wall brackets fashioned as bunches of lilies suspended below festoons of 7...

ANTIQUE GEORGE III SILK, SILVER THREAD NEEDLEWORK AND STUMPWORK EMBROIDERY A charming depiction of the baby Moses being discovered in the bullrushes by the Pharaoh’s daughter, all w...

Early 19th Century Botanical Engraving by John Curtis – Hand Coloured Natural History Plate An original early 19th-century hand-coloured botanical engraving from the celebrated natural history publications of John Curtis (1791–1862), one of Britain’s most respected botanical and entomological illustrators. This beautifully detailed plate illustrates a flowering plant in scientific profile, showing bloom structure, leaves, buds, and root system with precision typical of early Victorian natural history illustration. Curtis’s work bridges science and art — created for study, yet prized today for its elegance and balance. These engravings formed part of the golden age of British botanical publishing, when artists collaborated with engravers and colourists to produce plates that were both accurate and visually refined. Each impression was printed from an engraved plate and then carefully coloured by hand, meaning no two examples are ever exactly identical. The composition has the clarity collectors seek: • Central botanical specimen • Naturalistic colour palette • Fine line engraving • Period scientific titling This makes it ideal as a single framed piece or as part of a gallery wall of antique botanical studies. About John Curtis John Curtis was a leading figure in British natural history illustration. He is best known for British Entomology and botanical works that combined taxonomic accuracy with graceful composition. His engravings are held in major museum collections and remain highly collectable in the decorative arts market. Period Early 19th century, circa 1820–1840. Technique Copperplate engraving with original hand colouring on laid paper. Condition Good antique condition consistent with age. Light toning and minor handling marks may be present, as expected with early 19th-century works on paper. Please see the images. Why Collect Curtis Botanical Prints...

Early 19th Century Botanical Engraving by John Curtis – Hand Coloured Natural History Plate An original early 19th-century hand-coloured botanical engraving from the celebrated natural history publications of John Curtis (1791–1862), one of Britain’s most respected botanical and entomological illustrators. This beautifully detailed plate illustrates a flowering plant in scientific profile, showing bloom structure, leaves, buds, and root system with precision typical of early Victorian natural history illustration. Curtis’s work bridges science and art — created for study, yet prized today for its elegance and balance. These engravings formed part of the golden age of British botanical publishing, when artists collaborated with engravers and colourists to produce plates that were both accurate and visually refined. Each impression was printed from an engraved plate and then carefully coloured by hand, meaning no two examples are ever exactly identical. The composition has the clarity collectors seek: • Central botanical specimen • Naturalistic colour palette • Fine line engraving • Period scientific titling This makes it ideal as a single framed piece or as part of a gallery wall of antique botanical studies. About John Curtis John Curtis was a leading figure in British natural history illustration. He is best known for British Entomology and botanical works that combined taxonomic accuracy with graceful composition. His engravings are held in major museum collections and remain highly collectable in the decorative arts market. Period Early 19th century, circa 1820–1840. Technique Copperplate engraving with original hand colouring on laid paper. Condition Good antique condition consistent with age. Light toning and minor handling marks may be present, as expected with early 19th-century works on paper. Please see the images. Why Collect Curtis Botanical Prints...

English Oil on canvas Whippet landscape painting in the original gilt burl walnut frame. Early 19th Century

Mid 18th Century Scenic English Needlepoint ( 2'4" x 2'7" - 71 x 79 )

Rare Naïve East Sussex Village Paintings – Staplecross Landscapes (Late 18th Century) Vernacular Sussex Village Scenes These naïve East Sussex village paintings show rural life in t...

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...

John Thomas Serres 1759-1825 was an English maritime painter who enjoyed significant success, including exhibiting extensively at the Royal Academy,...

Exceptional English George III period neoclassical memorial or mourning portrait of a gentleman attributed to famed London portraitist Thomas Hudson (1701-1779) depicting 'Edward Lon...

Wonderfully executed collaborative engraving from the end of the 18th century. Artists Jean Baptiste Michel (Paris) & Willim Leney (London) printed by "W.H. Miller" muted color palet...

Georgian Miniature Sampler, circa 1800, by Sophia Honey. The sampler is worked in silk threads on a linen ground, in cross stitch throughout. Silk border with bows. Colours green, gold, silver, brown and red. Inscription reads, 'The Lord himself will keep, His people safe from harm, Will hold the helm and guide the ship, With his Almighty arm.'. Signed 'Sophia Honey'. A scattering of motifs, including potted flowering plants, stars, fruit trees and birds. Framed in an old wood frame with rippled, old glass. Mounting: The sampler is stitched onto a linen backing, which is framed with the red silk ribbon border. This is loose mounted onto wooden board. (When removed from the frame, this can be hung, without the need for a frame.) Frame sealed...

Early 19th Century Botanical Engraving by John Curtis – Hand Coloured Natural History Plate An original early 19th-century hand-coloured botanical engraving from the celebrated natural history publications of John Curtis (1791–1862), one of Britain’s most respected botanical and entomological illustrators. This beautifully detailed plate illustrates a flowering plant in scientific profile, showing bloom structure, leaves, buds, and root system with precision typical of early Victorian natural history illustration. Curtis’s work bridges science and art — created for study, yet prized today for its elegance and balance. These engravings formed part of the golden age of British botanical publishing, when artists collaborated with engravers and colourists to produce plates that were both accurate and visually refined. Each impression was printed from an engraved plate and then carefully coloured by hand, meaning no two examples are ever exactly identical. The composition has the clarity collectors seek: • Central botanical specimen • Naturalistic colour palette • Fine line engraving • Period scientific titling This makes it ideal as a single framed piece or as part of a gallery wall of antique botanical studies. About John Curtis John Curtis was a leading figure in British natural history illustration. He is best known for British Entomology and botanical works that combined taxonomic accuracy with graceful composition. His engravings are held in major museum collections and remain highly collectible in the decorative arts market. Period Early 19th century, circa 1820–1840. Technique Copperplate engraving with original hand colouring on laid paper. Condition Good antique condition consistent with age. Light toning and minor handling marks may be present, as expected with early 19th-century works on paper. Please see the images. Why Collect Curtis Botanical Prints...

Decorative pair of late 18th century hand coloured lithograph plates of a Franklin Tartar and Black Hellebore. Originally both part of the botanical book Flower Garden Displayed by ...

Well carved with carved rocaille frame enclosing a crest comprised of three castles and a compass. At base has a carved face. Once hung on the yacht Paraffin and from the Michael Kit...

Pair of English Nobel figural oil on canvas oval portraits of male posing with hunting canine companions and female sitting in garden posing with flowers and lamb. Paintings have bee...

Pair 18th Century Bilston Oval Enamel Plaques , depicting pastoral scenes, each painted with figures, one on lakeside by a park with a castle, the other under a tree by a pond, both ...

Few coach panels survive. This is a striking example with the double headed eagle, gilded armorial and burgundy background. The closest I can find to ar...

Paned Georgian window with ornate metalwork. This is an excellent example of a fan-style window framework dating to the George III period. The popular...

We are delighted to offer for sale this lovely hand carved solid burr oak wall panel, circa 1780 depicting drunk friends of a large scale A very well made and decorative piece, it...

We are delighted to offer for sale this New and Accurate Map of Nubia & Abissinia, together with all the Kingdoms Tributary Thereto, and bordering upon them published in 1744 by Emanuel Bowen This is a decorative antique engraved map of East Africa...

We are delighted to offer for sale this very rare and highly collectable suite of four original 1800 dated copper plate prints by the genius that was Bouillon These are sublime qu...

Signed in pencil at lower left, Harold Thornton original drypoint etching titled "Kings College Old Gateway Cambridge", circa mid-19th century. Medium i...

Early 19th Century Oil Painting of Wakefield Cathedral, Yorkshire — Attributed to John Cawthorn Oil on canvas Attributed to John Cawthorn (British, active early 1800s) Circa 1810–1...

After J.R. Lucotte – Stonemasons at Work Medium: Oil on paper Dimensions: 178 cm x 210 cm Date: 20th Century Attribution: After Jacques-Raymond Lucotte (1733–1804) This strikingly l...

A. Vanden Temple, 19th century school, portrait of a Constantia Lucy, oil on canvas.

Set of seven Royal Officer\'s portraits oil on canvas measure: 47" high. Very Stately, Handsome.

Late 18th century portrait of a gentleman unframed , English. Joh Rud Kupfer, 1764 age 37 signed on back.