George IV Wall Decorations

From Selby's Illustrations of British Ornithology (London: 1841-1846). Likely a restrike printing (20th c.,) hand-colored prints, embossed with plate marks, includes two after Pridea...

Selby's Illustrations of British Ornithology (London: 1841-1846). Likely a later restrike printing (20th c.,) hand-colored prints, embossed with plate marks, includes: "Eider Duck, M...

A rare and unusual pair of English wall brackets circa 1825-30 of carved lions holding a circular top, dry stripped to original gilding.It is likely that the inspiration for these br...

Early 19th C West Country painted pine plate rack. 1820. Usable shelf depth is 10cm. Reference: 8026 Dimensions 70 inches (178 cms) Wide 7.5 inches (19 ...

A hand-colored aquatint engraving dated January 1, 1825 and engraved by T. Sutherland, London. Titled "South Sea Whale Fishery", after a painting by Will...

The picture retains its original gilt frame. The image is rendered in a mixture of silkwork and hand painted decoration and depicts the injured traveler on the roadside being aided by the Samaritan while the Levite and the Priest are seen in the distance. This parable is told by Jesus in the Gospel of Luke. A certain man was going down from Jerusalem to Jericho, and he fell among robbers, who both stripped him and beat him, and departed, leaving him half dead. By chance a certain priest was going down that way. When he saw him, he passed by on the other side. In the same way a Levite also, when he came to the place, and saw him, passed by on the other side. But a certain Samaritan, as he travelled, came where he was. When he saw him, he was moved with compassion, came to him, and bound up his wounds, pouring on oil and wine. He set him on his own animal, and brought him to an inn, and took care of him. On the next day, when he departed, he took out two denarii, gave them to the host, and said to him, 'Take care of him. Whatever you spend beyond that, I will repay you when I return.' Now which of these three do you think seemed to be a neighbor to him who fell among the robbers?" This work is vastly bigger than 19th century silkwork pictures...

These fine portraits of John and Caroline Bull have been drawn with pastel on vellum. The frames come in their original frames. Both portraits carry inscriptions on the reverse. The ...

Early 19th century pair of engravings - 'George IV visiting Dublin' After Joseph Haverty RHA (1794-1864) 'The Triumphant Entry of George IV into Dublin'. 'His Majesty's Arrival', 'His Majesty's Embarkation'. A pair of coloured aquatints by Robert Havell. These prints record the visit of George IV to Ireland in 1821, when official business was overshadowed by the Kings' wish to visit Slane Castle. These are rare first state prints before the flags were re-engraved to fly at half mast for the death of Queen Caroline. This pair of aquatint prints by Robert Havell, are based on paintings by Joseph Haverty, a close friend of 'The Liberator', Daniel O'Connell. Haverty based his depictions on sketches made by John Lushington Reilly, whom Haverty has thoughtfully included in the embarkation scene. The figure of Reilly can be found in the central foreground sketching on horseback. The 18 day visit by George IV began on August 12th 1820, the Kings 59th birthday, and a mere three weeks after his coronation. The visit was arguably the first time a British monarch had visited the country without an accompanying army, in the traditional sense at least. George IV's visit was universally greeted with rejoicing from the populace. One of the first to extend his warmest welcome was Daniel O'Connell, who saw the visit as welcome support in his endeavours to achieve Catholic Emancipation...