Engraved Wall Decorations

Pair of Botanical Engravings from The Botanic Garden by B. Maund, London c.1836 A beautiful matching pair of hand-colored botanical engravings from Benjamin Maund’s renowned work Th...

Spoonbill Antique Dutch Bird Print by Sepp and Nozeman, 1789 – Life-Sized Study This impressive hand-colored copper engraving titled *Platalea leucorodia* portrays the Eurasian spoo...

Title: Plato at Cape Sounion with His Disciples, Ambroise Tardieu, 1825 Description: Original antique engraving depicting Plato with his disciples at Cape Sounion in Attica, Greece,...

Title: "ORNITHOLOGY. Div'n. Land Birds – Order 4 PICE.A. Plate III" This 19th-century ornithological print, part of a scientific collection, features an array of land birds from the...

Antique Sugarcane Botanical Print – Saccharum officinarum, Hayne Plate 100 Description: This finely executed botanical engraving depicts Saccharum officinarum, the sugarcane plant, shown with scientific clarity and quiet elegance. The composition presents the full growth habit with segmented canes and flowering plume, accompanied by precise analytical details of the inflorescence and spikelets, as well as a separate cross-section of the cane. The balance between clarity and restraint is characteristic of early German academic botany at its best. The print originates from Friedrich Gottlob Hayne’s monumental work Getreue Darstellung und Beschreibung der in der Arzneykunde gebräuchlichen Gewächse, published in Berlin in the early 19th century. Hayne was one of the most important botanical authors of his time, and his work played a crucial role in standardizing the visual language of medicinal and economic botany across Europe. Each plate was engraved on copper and then carefully hand colored, combining scientific accuracy with refined aesthetic appeal. Sugarcane held enormous economic and medicinal importance in the 18th and 19th centuries, linked to global trade networks, colonial agriculture, and the production of sugar as both food and pharmaceutical ingredient. As such, this plate carries strong historical resonance beyond its botanical subject, appealing equally to collectors of natural history, economic botany, and early scientific illustration. Visually, the print works exceptionally well as a stand-alone sheet. The calm composition, generous margins, and soft hand coloring make it particularly attractive for interior settings, from classic libraries to contemporary spaces where natural history prints are used as architectural accents. Condition report: Good antique condition. Light, even age toning to the paper consistent with age. Minor surface marks and soft handling wear visible on close inspection. Plate impression visible. No major tears or losses. Framing tips: This print benefits from a wide mat to emphasize its scientific elegance. Recommended combinations include a black or dark walnut frame with an ivory or parchment mat for a classic look, or a slim natural oak frame with an off-white mat for a lighter, contemporary presentation. Avoid overly dark mats, which can overpower the delicate hand coloring. Technique: Copper engraving with original hand coloring Maker: Friedrich Gottlob Hayne, Berlin, early 19th century Keywords: antique botanical print, sugarcane print, sugar cane botanical, saccharum officinarum, antique plant illustration, hand colored botanical, 19th century botanical print, natural history wall art, framed botanical print, antique agricultural print, economic botany illustration, tropical plant artwork, colonial trade decor, kitchen botanical wall art...

Antique Portrait of Sir Thomas More – Holbein, Bartolozzi Stipple Engraving, 1793 This refined late 18th-century stipple engraving depicts Sir Thomas ...

Habit of a Woman of Fez in Africa, Elegant Costume Engraving, 1749 Description: A refined and visually engaging costume engraving titled “Habit of a Woman of Fez, in Africa,” depict...

Allegory of Fire with Charon on the River Styx – 18th Century Optical Print This dramatic and richly colored 18th-century optical print presents an allegorical vision of 'Fire', ren...

Antique Botanical Lithograph, Armenian Apricot, de Vriese 1856 A beautifully detailed mid-19th century botanical chromolithograph depicting the Armenian apricot (Armeniaca mume var....

Plate 17 from "La Methode et Invention nouvelle de Dresser les Chevaux" portrays William Cavendish, the first Duke of Newcastle, providing instructions to Captain Mazin in the art of...

Classical Warfare & Naval Battles, Set of 5 Antique Engravings, France c.1720 A striking and intellectually rich set of five original 18th-century French engravings depicting classi...

Hawaiian Islands – Three Pacific Exploration Engravings, Paris 1836 This rare matching set of three engravings depicting scenes from the Hawaiian Islands (Îles Hawaï) was published ...

Antique Dutch East Indies Forts Engraving — VOC Batavia, Ambon & Banda, Chatelain c.1719 This impressive early 18th-century copperplate engraving titled “Vue et description de quelq...

Pair Original Hand Colored Engravings, Georges-Louis Leclerec, Comte de Buffon, Paris 1749. These two original engravings from Histoire Naturell, Generale et Particuliere, avec la...

Maiorana Syriaca sive Marum Syriacum – Origanum Syriacum Botanical Engraving c.1676 This antique botanical engraving features Origanum syriacum, also known as Bible hyssop, Lebanese...

Title: New York City Hall – Antique Architectural Engraving of Manhattan, c.1850 This finely engraved nineteenth-century view depicts New York City Hall, one of the most important c...

Antique Engraving of Rio de Janeiro, Imperial Palace and Cathedral, c.1867 Detailed mid-19th century engraving of Rio de Janeiro titled Rio de Janeiro – Palais Impérial et Cathédral...

Knight of the Order of the Holy Spirit, 18th-Century Engraving This finely hand-colored engraving portrays a Knight of the Order of the Holy Spirit (Ordre du Saint-Esprit), one of t...

Title: Historic 1806 Varaha Vishnu Boar Avatar Antique Print - Hindu Engraving Description: This striking antique print, titled "IIIme Incarnation de Vichenou, en Sanglier," portray...

Very fine and rare hand colored antique engraved G. W. & C.B. Colton & Co. "Book Map" on onion skin paper of South Carolina, 1874 Published at 172 William Street, New York Below date of "1874" says the following: Entered according to the Act of Congress in the year 1855 by J. H. Colton, in the clerks office of the district court of the United States for the Southern District of New York. Title of pocket book...

Title: The Racing Stallion – Original Samuel Howitt Georgian Equestrian Engraving, England, 1800 An elegant and highly decorative original copperplate engraving by renowned British sporting artist Samuel Howitt, depicting a spirited racing stallion being presented by its handler within an idyllic English landscape. Several figures and an additional horse appear in the background, emphasizing the social and aristocratic culture surrounding horse breeding and racing during the Georgian era. The plate is signed in the image "Howitt inv. et f.", indicating that Samuel Howitt both designed and engraved the work himself. The lower right publication line reads "Published March 1, 1800," confirming its original issue at the dawn of the nineteenth century. Samuel Howitt (1756–1822) was among Britain's foremost painters and illustrators of horses, hunting scenes, and rural sporting life. His engravings are celebrated for their remarkable understanding of equine anatomy, movement, and character, making them enduring favorites among collectors of antique sporting art. Today, works such as The Racing Stallion remain highly desirable decorative pieces for country houses, libraries, gentlemen's studies, stables, and contemporary equestrian interiors. Creator: Samuel Howitt (British, 1756–1822) Origin: England Date: Published March 1, 1800 Medium: Original copperplate engraving on laid paper, unframed Image dimensions: 26.5 cm × 21.3 cm Presented unframed. Framed photographs are for inspiration only. Condition: Good antique condition with age-appropriate toning, minor handling wear, light creasing, and generous original margins. The engraving remains strong and well-preserved, displaying beautifully more than two centuries after publication. Keywords: Samuel Howitt, Racing Stallion, horse engraving, equestrian art, Georgian print, English sporting art, racehorse print, antique horse engraving, original copperplate engraving, British animal art, country house decor, stable decoration, hunting lodge interior, English rural landscape, sporting gentleman, laid paper engraving, eighteenth century print...

Bird’s-Eye View of Charleston, South Carolina – Panoramic City Engraving, 19th C. This impressive 19th-century engraving titled Bird’s-Eye View of Charleston presents a sweeping pan...

This engraving depicts a group of Carthusian monks being executed, likely by hanging, in a gruesome scene reminiscent of the religious persecution during the Reformation. Here is a detailed analysis, a translated version of the text, and context for the engraving: The text at the bottom reads: "VMFRIDVS MIDELMOR, GULIELMUS EXMEY, ende verscheijden andere Carthuysers worden gehanghen." Translation: "Humphrey Middlemore, William Exmew, and various other Carthusians are hanged." The engraving depicts the martyrdom of Humphrey Middlemore, William Exmew, and several other Carthusian monks, who are shown being hanged. In the foreground, one monk lies dead or unconscious on a bench, while another man—likely the executioner—prepares a knife, suggesting the process of drawing and quartering. A large cauldron stands...

Full Dress of a Gentleman: Regency Era Elegance from Ackermann's Repository This refined hand-colored engraving from April 1, 1810, is plate 26 from volume 3 of Ackermann’s Reposi...

Title: Etats Due Grand-Seigneur En Asie, Empire De Perse, Pays Des Usbecs, Arabie et Egypte . . . 1753 Detailed map of the Turkish Empire, extending to the Black Sea, Georgia, the...

Antique Rose and Botanical Insect Engravings — Decorative Natural History Set, Albin 1720 This attractive decorative set of three hand-colored copper engravings originates from the ...

Inscriptions on the Legs of the Colossus of Memnon – Greek & Latin Graffiti Description: This fascinating paired engraving documents the inscriptions found on the legs of the famed ...

Antique Engraving of Lima, Cathedral and Plaza Mayor, 1867 Detailed 19th-century engraving titled Lima, published in 1867. The view captures the grand Plaza Mayor of the Peruvian ca...

Two Species of Wrasse Fish – Hand-Colored Engraving, c.1780 Beautiful 18th-century hand-colored copperplate engraving depicting two species of wrasse fish, titled in manuscript Le l...

This exceptional antique map, titled "Nouvelle Carte Marine de Toute les Cotes de l´Amerique" and alternatively known as "Nieuwe groote en seer Curieuse Paskaart van Geheel-WestIndie...

Title: Original Antique Print of Peru, Bolivia & Chile – Lima Cathedral and Views, c.1855 Description: An original antique wood-engraved print titled "Peru, Bolivia, Chile", featuring a series of finely engraved views and ethnographic scenes from the west coast of South America. The print was published in Germany around the mid-nineteenth century. At the centre of the composition is a detailed view of the Cathedral of Lima, one of the most important landmarks of the former Viceroyalty of Peru. Surrounding this principal image are ten smaller engraved vignettes illustrating the landscapes, wildlife, architecture and people of Peru, Bolivia and Chile. The scenes include the Cathedral of Chuquisaca (Sucre, Bolivia), llamas and alpacas in the Andes, the Andean condor, Indigenous inhabitants, horsemen, traders, the marketplace of Santiago de Chile, a river scene on the Marañón, tropical Indigenous dwellings, and daily life across the region. Together they provide a fascinating nineteenth-century European overview of the geography, cultures and natural history of western South America. The print combines architecture, ethnography, zoology and landscape into a single decorative composition, making it both historically informative and visually attractive. Such composite engravings were intended to introduce readers to distant countries through carefully selected representative scenes. This is an original antique print printed...

Two religious images on one sheet titled 'Kopere Zee in den Tempel van Salomon' and 'Doorsnede van de Kopere Zee des Tempels van Salomon'. The 'Brazen Sea' in Solomon's Temple an...

Republican General and His Guide 1795, Napoleonic Era Military Uniform Print This finely hand-colored 19th-century engraving depicts a Republican general and his guide as uniformed ...

Medieval Coronation Ceremony, Hand-Colored Costume Plate by Paul Mercuri, 1845 A richly detailed hand-colored engraving depicting a grand medieval coronation or ecclesiastical cerem...

Title: European Garden Spider Anatomy: Hand-Colored Engraving from Bertuch's "Bilderbuch für Kinder" (1798) Description: This detailed hand-colored copperplate engraving from Frie...

Set of 8 Antique Botanical Engravings of Avena, Arundo and Meadow Grasses, c.1830 This refined set of eight early nineteenth-century botanical engravings features a beautifully vari...

Chinese Emperor in Imperial Robes, Antique Costume Print, Jefferys 1749 This refined engraving shows the Emperor of China in formal robes, depicted in a composed and dignified stanc...

Napoleon Bonaparte on Horseback, L’Empereur – French Hand-Colored Print, 1843 This striking 19th-century hand-colored print depicts Napoleon Bonaparte in one of his most enduring and carefully constructed visual roles: the calm, commanding emperor on horseback. Shown mounted on a poised grey horse, Napoleon is rendered in his characteristic attire—dark coat, bicorne hat, and the red sash of the Legion of Honour—projecting authority, discipline, and control. His composed posture contrasts with the dynamic movement of the horse, a visual device frequently used in Napoleonic imagery to suggest mastery over both men and circumstance. Behind him, attendants and officers follow at a respectful distance, reinforcing his position as supreme commander. The sparse landscape keeps the focus firmly on Napoleon himself, turning the scene into a timeless emblem rather than a specific battlefield episode. The caption beneath the image, “L’Empereur,” leaves no ambiguity about the subject and reflects the iconic status Napoleon held in French visual culture long after his fall. This print originates from *Histoire de l’Empereur Napoléon* by P.-M. Laurent de l’Ardèche, published in Paris in 1843 and illustrated after designs by Horace Vernet, the most influential Napoleonic painter of the 19th century. Vernet’s imagery played a crucial role in shaping the posthumous legend of Napoleon, blending historical reference with idealized representation. Such prints were intended both as historical illustrations and as objects of admiration, suitable for framing in bourgeois and official interiors. As an equestrian portrait, this work belongs to a long artistic tradition associated with power, leadership, and imperial legitimacy. It remains highly appealing to collectors of Napoleonic history, French military art...

Title: 18th-Century Artillery Engraving of the Spanish Captain's Carriage and Mechanisms Description: This highly detailed 18th-century engraving presents a meticulously rendered...

Title: View of the Grand Water Jet at Saint-Cloud by Louis-Pierre Baltard, Paris, 1803 Description: This finely executed original antique copperplate engraving depicts the spectacul...

Title: Constantinopolis Expugnatio a Turchis - Hartmann Schedel, 1493 This woodcut view of Constantinople is from Hartmann Schedel's 'Nuremberg Chronicle' (Liber Chronicarum), publi...

Title: Antique Venezuela, Colombia, Ecuador & Peru Map, Bartholomew 1884 This finely engraved antique map of northwestern South America was produced under the direction of the renow...

John Nieuhoff Exotic Fish Prints Set of Five Hand-Colored Engravings c1704 This rare and attractive group of five hand-colored engravings depicts a diverse selection of exotic marin...

Pair of French Butterfly & Moth Engravings by E. Guérin, 1835 This elegant pair of antique French natural history engravings depicts butterflies, moths, caterpillars, and botanical ...

Unique piece "Sunset Miror" (2003) by Michel Kiriliul. Engraved brass, metal and glass slab. Measures: Height 150 cm; length 250 cm. This unique and original piece of art was sc...

California Indigenous Dress and Fishing Rafts – Early Ethnographic Engraving, c.1754 This finely engraved ethnographic scene depicts the dress and daily life of the Indigenous inhab...

Delicate Blue Flower Study, Plate No. 496 This engraving is from a botanical series by William Curtis, likely part of the publication "The Botanical Magazine," which was known for i...

Antique print titled 'The Everingham Short Horned Prize Cow'. Aquatint of prize cattle. Engraved by J.Harris after a painting by W.H. Davis. It is inscribed below the image 'Bred by Sir Charles R. Tempest, Bart. of Broughton Hall...

Napoleonic Marines, Garde Impériale, French Military Uniform Print, 1843 This finely hand-colored military print depicts a Marine of the Imperial Guard (Marins de la Garde Impériale...

Title: Creation of the World to Abraham Sacrifice, Genesis Engravings, 1700 Description: This impressive set of six early-18th-century copper engravings forms part of a larger Genes...

Italian Country Woman Costume Print, Pavia Peasant Dress, 1749 A charming and highly decorative antique costume engraving depicting a country woman from Pavia, Italy, titled “Habit ...

Title: Antique Costume Print – Indian Chief, Exotic Dress & Arms, 1749 Description: A striking and highly decorative antique costume engraving depicting an Indian chief in cerem...

Swiss Hound Briquets – Antique Dog Print, circa 1880, French Publication This fine 19th-century print depicts two Swiss Hound Briquets, a medium-si...

Napoleonic Architectural Engravings Set, Baltard Paris Monuments Plates, 1803 This striking set of eight early 19th-century architectural engravings originates from the rare French publication Paris et ses Monuments, mesurés, dessinés et gravés, created by architect and engraver Louis-Pierre Baltard and published in Paris in 1803 during the early Napoleonic period. Baltard’s monumental publication was dedicated to Napoleon Bonaparte and aimed to systematically document the architectural treasures of Paris and its surrounding monuments through precise measurement, architectural drawing, and finely executed copperplate engravings. Today the work is regarded as one of the earliest comprehensive visual surveys of Parisian architecture produced during the Napoleonic era. The present group forms a visually balanced and highly decorative set illustrating several aspects of classical and Renaissance architecture. The engravings include façade elevations, architectural plans, ornamental studies, sculptural fragments, and atmospheric architectural views. Together they present a remarkable overview of architectural design, structural composition, and decorative detail typical of the scholarly architectural publications produced in France at the beginning of the nineteenth century. One of the most notable plates in the group shows the measured plan of the Château d’Écouen, one of the most important Renaissance châteaux in France. Built in the sixteenth century for the powerful Montmorency family, the château later became an important national monument and today houses the Musée National de la Renaissance. The engraved plan carefully illustrates the château’s symmetrical layout around its central courtyard together with the surrounding terraces, landscaped grounds, and tree-lined avenues. Other plates depict grand classical façades, monumental arches, richly carved capitals, sculptural ornaments, and picturesque architectural views set within wooded landscapes. Baltard’s engravings are admired for their combination of architectural precision and refined artistic engraving. Crisp linework defines the structural forms, while delicate shading creates depth in the sculptural and landscape elements. Architectural engravings from Paris et ses Monuments have become increasingly desirable among collectors, architects, and interior designers. Their refined balance between scholarly architectural documentation and decorative visual appeal makes them particularly suitable for elegant interiors such as libraries, studies, galleries, or sophisticated European-style homes. Displayed together as a gallery wall, the engravings create a striking architectural ensemble reflecting the intellectual spirit and artistic ambition of the Napoleonic period. The original antique engravings are offered unframed, giving flexibility to select frames that best suit the intended interior. Condition report: Very good condition for early nineteenth-century engravings. Printed on laid paper with wide margins. Light age toning and occasional small spots consistent with age. The engraved impressions remain sharp and clear. Framing tips: These engravings display beautifully as a coordinated wall set. Dark walnut or black frames with generous ivory or warm off-white mats create a refined museum-style presentation. For a more contemporary interior, thin black gallery frames with wide mats highlight the elegant linework and architectural detail. Technique: Copperplate engraving Maker: Louis-Pierre Baltard, Paris, 1803 Keywords: napoleonic architectural engravings, baltard paris monuments 1803, antique french architecture prints...

Set of two architecture prints depicting the design of an Ionic and Corinthian portico. These prints originate from 'Recueil Élémentaire d’Architecture' by Jean-Francois de Neufforge...

Title: 1799 Samuel Howitt "Shooting Pony" Engraving – Original Georgian English Equestrian Print Creator: Samuel Howitt (British, 1756–1822) Title: Shooting Pony Date: Published August 3, 1799 Medium: Original copperplate engraving on laid paper, unframed Country of Origin: England An original Georgian copperplate engraving by the celebrated British sporting artist Samuel Howitt, depicting a finely trained shooting pony standing within an idyllic English landscape. A huntsman appears in the background beside a gate, reinforcing the sporting character of the composition. The plate bears the inscription "Howitt inv. et f.", indicating that Samuel Howitt both designed and engraved the work himself. At lower right the print is dated "Published Aug. 3, 1799," confirming its eighteenth-century publication. Samuel Howitt ranks among the most important British animal and sporting artists of the Georgian period. Best known for his naturalistic representations of horses, hunting scenes, dogs, and wildlife, his works were widely admired by the English gentry and country estates. His engravings combine elegant composition with an extraordinary sensitivity to the anatomy and character of animals. This authentic late eighteenth-century engraving makes a superb addition to collections of sporting art, equestrian memorabilia, or traditional English country-house interiors. Condition: Good antique condition with age-appropriate toning, minor creasing and handling wear consistent with more than two centuries of age. The sheet retains generous margins and displays exceptionally well. Presented unframed. Framed images are for inspiration only. Keywords: Samuel Howitt, Shooting Pony, horse engraving, equestrian print, Georgian engraving, sporting art, English country house, antique horse print, original copperplate engraving, British sporting print, hunting art, riding horse, eighteenth century engraving, 1799 print, English rural landscape, laid paper engraving, country estate decor, stable decoration, equestrian collectible, antique animal art.

Diana of the Ephesians Antique Engraving, Montfaucon Antiquité Expliquée 1721 This original early eighteenth-century copper engraving depicts the famed Diana of the Ephesians (Artemis of Ephesus), one of the most recognizable and symbolically rich cult images of the ancient world. The plate originates from Bernard de Montfaucon’s monumental antiquarian publication *L’Antiquité expliquée et représentée en figures*, published in Paris in 1721, a foundational scholarly work that systematically documented classical antiquities and helped establish archaeology as an academic discipline. Montfaucon’s encyclopedic project sought to gather visual knowledge of ancient civilizations through carefully engraved illustrations based on surviving sculptures, coins, manuscripts, and earlier collections. This engraving presents the Ephesian Artemis in her distinctive archaic form: a rigid frontal figure crowned with a mural headdress, arms extended, and a body covered with symbolic registers. The multiple rounded forms across the torso—traditionally interpreted as fertility attributes—reflect the goddess’s role as a universal mother and protector of nature. Bands of animals, mythological creatures, and sacred motifs reinforce her association with cosmic order, fertility, and the natural world. Unlike the athletic huntress Artemis familiar from Greek sculpture, the Ephesian Diana represents an older Anatolian cult tradition absorbed into Greco-Roman religion. The engraving therefore documents not only a sculpture but also Enlightenment-era attempts to understand ancient religious symbolism through comparative study. Montfaucon’s precise linework and balanced composition exemplify the refined craftsmanship of Parisian copperplate engraving during the early 18th century, combining scholarly accuracy with strong decorative appeal. Today, engravings from L’Antiquité expliquée are highly regarded by collectors of classical antiquity, archaeology, and early academic illustration. The graphic symmetry and sculptural clarity make this image particularly suitable for interiors ranging from traditional libraries to contemporary gallery walls. This original antique engraving is offered unframed, allowing flexibility to select a frame that best suits the intended interior. Condition: Good antique condition with age-related toning and light discoloration to the paper, consistent with early eighteenth-century prints. Minor edge wear and handling marks confined mainly to the margins. Plate impression visible. Blank verso. Framing tips: A dark walnut or ebonized frame with a wide ivory mat enhances the classical presence of the figure. For a modern interior, a slim black frame with generous mat spacing creates a museum-quality presentation emphasizing the engraving’s symmetry. Technique: Copper engraving Maker: Bernard de Montfaucon, France, Paris, 1721 Keywords: Diana of Ephesus, Artemis of Ephesus engraving, Montfaucon Antiquité expliquée, antique classical engraving, Ephesian Diana print, Greek mythology print...

Sandwich-Eilanders – Antique Hand-Colored Engraving of Hawaiian Figures (c.1800) Description: An early 19th-century hand-colored ethnographic engraving titled “Sandwich-Eilanders,” ...

Title: Set of Two Saint-Cloud Garden Fountain Engravings by Baltard, Paris, 1803 Description: This elegant pair of original antique copperplate engravings depicts two picturesque v...

Pair of Serlio Architectural Plan Engravings, Neoclassical, c.1721 This elegant pair of original antique copperplate engravings presents a sophisticated series of classical architec...