Engraved Wall Decorations

This is an original antique copper engraving from 1757, colored by hand, lettered "Habit of Zara, in the Tragedy of the Mourning Bride." Zara turns her head sharply toward the viewer...

A view across the sea to the island of Capri, its jagged peaks rising sharply out of a calm bay. The foreground is a steep, wooded mainland slope: two tall, slender pines frame the c...

Richmond Virginia James River View – Antique Steel Engraving c.1850 Description: This finely detailed mid-19th century steel engraving depicts a pan...

Portuguese Equestrian Training Engravings — Baroque Horsemanship, 1790 This striking set of three antique copperplate engravings originates from the celebrated Portuguese equestrian...

Title: 1806 Engraving of Arunachalesvara Temple, Hindu Pagoda on Coromandel Coast Description: This detailed antique print, titled "Temple ou Pagode des Gentils de la cote de Coroma...

1678 Baroque Dressage Training Horse at the Pillar – Georg Simon Winter This original hand-coloured copperplate engraving depicts an advanced riding-school exercise from one of the ...

Diana of Ephesus Antique Engraving, Montfaucon Antiquité Expliquée, 1721 This original eighteenth-century copper engraving titled “Diane d’Ephese” illustrates several sculptural representations of the celebrated cult statue of Artemis of Ephesus, one of antiquity’s most enigmatic and symbolically charged religious images. The plate originates from Bernard de Montfaucon’s landmark antiquarian publication L’antiquité expliquée et représentée en figures, published in Paris in 1721, a pioneering encyclopedic study that helped establish the scholarly foundations of archaeology and art history during the Enlightenment. Montfaucon’s ambitious project sought to systematically document the material culture of the ancient world through carefully researched engravings based on surviving sculptures, coins, reliefs, and historical sources. This plate presents multiple interpretations of the Ephesian goddess, comparing sculptural variants and medallion representations. The central figures stand rigidly frontal, crowned and richly adorned, their bodies covered with registers of animals, symbolic figures, and ritual ornamentation. Smaller circular images below further demonstrate how the goddess appeared on ancient coins and reliefs, reflecting Montfaucon’s analytical approach to classical imagery. Unlike the familiar Greek Artemis, goddess of the hunt, the Ephesian Diana represents an older Anatolian mother deity assimilated into Greco-Roman religion. Her distinctive iconography—tiered body coverings, animal motifs, and fertility symbolism—expresses abundance, cosmic order, and divine protection. During the eighteenth century, such images fascinated European scholars attempting to interpret ancient religions through comparative symbolism, making Montfaucon’s publication a cornerstone reference for collectors, antiquarians, and early museums. The engraving is executed with refined precision typical of Parisian copperplate work of the early 1700s, combining scientific clarity with strong decorative appeal. The balanced composition and graphic symmetry allow the print to function equally as a scholarly artifact and an elegant wall piece suited to both classical and contemporary interiors. This original antique engraving is offered unframed, providing flexibility to select a frame appropriate to the intended interior setting. Condition: Good antique condition with age-related toning and light paper discoloration consistent with early eighteenth-century prints...

English Victorian Bronze Equestrian Hunt Wall Plaque, circa 1900 An English Victorian equestrian plaque depicting a mounted hunter in the foreground and riders crossing a fence in t...

Antique Tea Botanical Print, Thea Chinensis, Hand Colored, c.1831 This elegant botanical engraving depicts Thea chinensis, the tea plant, one of the most influential commodities in ...

Antique print of various snakes including the buff striped keelback snake. This print originates from 'Bilderbuch fur Kinder' by F.J. Bertuch. Friedrich Joha...

Title: Exquisite Depiction of Butterflies and Caterpillars: A Hand-Colored Natural History Engraving Description: This beautifully hand-colored copperplate engraving offers a deta...

Pair of Botanical Engravings from *The Botanic Garden* by B. Maund, London c.1836 An elegant pair of original hand-colored botanical engravings from *The Botanic Garden* by Benjamin...

Constantinople Harbor View with Ottoman Boats by Rouargue Frères, c.1860 This atmospheric mid-19th century engraving presents a refined panoramic view of Constantinople, modern-day ...

Bosporus Harbor View from Pera, Istanbul Arsenal – Antique Bartlett, c.1839 Description: An elegant and detailed 19th-century view of the Arsenal of Constantinople as seen from Pera, after W.H. Bartlett. This engraving presents a lively harbor scene along the Bosporus, with ships at anchor and the city rising in layered architectural forms across the water. Published in London around 1839 by Fisher, Son & Co., this work exemplifies the refined steel engraving techniques of the period. The composition balances foreground architectural elements with the expansive cityscape beyond, offering both intimacy and grandeur. The skyline of Constantinople is richly depicted with domes, minarets, and densely built structures, conveying the scale and importance of the city during the Ottoman era. The foreground includes cypress trees and traditional buildings, framing the view and adding depth. The original hand-coloring enhances the subtle interplay of light across the water and architecture, making this a particularly decorative and collectible example of Bartlett’s work. Note: All items we offer are authentic period works of art over 100 years old. The print is sold unframed; any framed images are shown for presentation and interior inspiration only. Condition: Good condition. Light age toning and scattered foxing, mainly in the margins. Plate mark visible. Image remains clear with pleasing original coloring. Framing tips: Beautiful in a dark frame with a wide mount for a classic collector’s look. Also suitable for a lighter contemporary frame to emphasize the cityscape and water tones. Technique: Steel engraving with original hand-coloring Maker: W.H. Bartlett (after), engraved by S. Bradshaw, London, circa 1839 Keywords: Istanbul harbor print, Pera engraving, Constantinople arsenal, Bartlett Istanbul, Bosporus harbor scene, antique Turkey print, Ottoman cityscape, 19th century engraving, Istanbul skyline, maritime print, Middle East art...

This original antique steel engraving, Constantinople from the Golden Horn, is a plate from the second volume of The Turkish Empire Illustrated, published in London by Peter Jackson ...

Antique map Middle East titled 'De Beschryving van de Reysen Pauli en van de Andere Apostelen'. Antique map of the Eastern Mediterranean with details of the travels by Apostle Paul...

Title: The Battle of Trafalgar, Admiral Nelson & British Fleet, 1805 Original antique 19th-century steel engraving depicting the Battle of Trafalgar, the decisive British naval victory of 21 October 1805 during the Napoleonic Wars. This dramatic maritime scene is after the painting by celebrated British marine artist Clarkson Frederick Stanfield, R.A. (1793–1867), and was engraved by John Cousen (1804–1880). The inscriptions beneath the image read: “C. STANFIELD, R.A. PAINTER.” “J. COUSEN, ENGRAVER.” “THE BATTLE OF TRAFALGAR.” “FROM THE PICTURE IN THE VERNON GALLERY.” The Battle of Trafalgar Fought on 21 October 1805 off Cape Trafalgar on the southwestern coast of Spain, the Battle of Trafalgar was one of the most important naval engagements of the Napoleonic Wars. The British Royal Navy, commanded by Vice-Admiral Horatio Nelson, confronted the combined French and Spanish fleet under Admiral Pierre-Charles Villeneuve. Nelson employed an unconventional attack, dividing his fleet into columns that sailed directly into the Franco-Spanish battle line. The resulting close-range engagement ended in a decisive British victory and confirmed Britain’s command of the seas. The battle became one of the defining events of British maritime history. Admiral Horatio Nelson & HMS Victory Vice-Admiral Horatio Nelson (1758–1805) commanded the British fleet from his famous flagship HMS Victory. Shortly before the battle commenced, Nelson ordered the celebrated signal: “England expects that every man will do his duty.” During the fighting, Nelson was struck by a musket ball fired from the French ship Redoutable and was mortally wounded. He died aboard HMS Victory during the battle, having lived long enough to learn that victory was assured. His death at the moment of triumph made Nelson a national hero and permanently linked his name with Trafalgar. The Scene Stanfield’s composition conveys the enormous scale, violence and confusion of a major naval engagement in the age of sail. Ships-of-the-line crowd the horizon, their towering masts and rigging emerging through smoke, spray and the dramatic sky. Several vessels are depicted fighting at extremely close quarters, recalling the devastating exchanges of cannon fire that characterized the battle. In the foreground, broken spars, wreckage and sailors struggling in the turbulent sea emphasize the human consequences of the engagement. The exceptionally wide composition gives the engraving an almost panoramic character and makes it particularly effective as a decorative maritime print. Clarkson Frederick Stanfield, R.A. (1793–1867) Clarkson Frederick Stanfield was one of the leading British marine painters of the 19th century. Stanfield had first-hand experience of life at sea before establishing himself as an artist. His knowledge of ships, rigging, changing weather and the movement of the ocean contributed to the convincing maritime atmosphere for which his work became celebrated. He was elected a Royal Academician and became particularly admired for his dramatic marine and historical paintings. John Cousen (1804–1880) The painting was translated into engraving by John Cousen, an accomplished English engraver known particularly for his landscape, architectural and marine subjects after important contemporary British artists. His finely worked engraving preserves the dramatic tonal effects of Stanfield’s original painting, from the dark turbulent foreground water to the distant ships disappearing into smoke and atmospheric haze. The Vernon Gallery The original painting was part of the important collection assembled by British businessman and philanthropist Robert Vernon (1774–1849). Vernon built an extensive collection devoted primarily to contemporary British art and presented his collection to the British nation in 1847. The inscription “From the Picture in the Vernon Gallery” records the important provenance of Stanfield’s original composition. Technique: Original antique steel engraving Artist: Clarkson Frederick Stanfield, R.A. (1793–1867) Engraver: John Cousen (1804–1880) Title: The Battle of Trafalgar Subject: Battle of Trafalgar Date depicted: 21 October 1805 Historical figure: Vice-Admiral Horatio Nelson British flagship: HMS Victory Historical period: Napoleonic Wars Origin: England Publication date: 19th century Style / Period: Victorian / 19th-century British maritime art Condition: Good antique condition with overall age-related toning, scattered spotting and foxing and minor staining. There is visible wear and some paper loss and irregularity to the outer edges and corners, particularly at the upper corners. Some minor handling marks and creasing are present, consistent with the age of the sheet. The engraved image itself remains strong, detailed and visually impressive. Please study the photographs carefully as they form part of the condition description. Please note: This is an original antique 19th-century steel engraving, not a modern reproduction. The print is sold unframed. Framed images or interior views, if shown, are for presentation and inspiration only. Keywords: Battle of Trafalgar, Trafalgar 1805, Admiral Nelson, Horatio Nelson, Lord Nelson, HMS Victory, Royal Navy, British Navy, Napoleonic Wars, Napoleon, naval battle, naval warfare, British naval history, maritime history, military history, sailing ships, ships of the line, antique maritime print, antique naval engraving, Clarkson Stanfield, Clarkson Frederick Stanfield, John Cousen, Vernon Gallery, British marine art, Victorian engraving, steel engraving, original antique print, 19th century maritime art

Title: Original Antique Hand-Coloured Engraving of the Inca Sun Festival, Peru, c.1777 Description: An original antique hand-coloured copperplate engraving depicting two scenes from...

Title: 1757 Engraving of Inuit & Indigenous Peoples – Hudson Bay & Arctic Canoe Scene Description: This rare 1757 antique copperplate engraving presents two fascinating scenes depicting Indigenous life in Arctic Canada, focusing on the Inuit and other First Nations communities in the Hudson Bay region. Originally published in *Histoire Générale des Voyages*, the engraving provides an invaluable visual record of daily life, survival techniques, and traditional dwellings. The top illustration, titled 'Un Esquimau dans son Canot', depicts an Inuit paddling a sleek, narrow kayak through choppy waters, showcasing the remarkable boat-making skills of the Arctic peoples. The kayak, designed for hunting and efficient travel, is shown in its traditional form, reflecting centuries of adaptation to harsh northern environments. The bottom illustration, 'Esquimaux du côté du Nord-Ouest de la Baie de Hudson', portrays a male and female Inuit figure standing near an igloo, a crucial form of temporary winter shelter. The man holds a bow and arrows, symbolizing subsistence hunting, while the woman carries a small child. In the background, additional Indigenous dwellings, including conical tipis, suggest the presence of other First Nations groups living near the Hudson Bay coastline. The detailed hatching and shading techniques used in the engraving bring out the textures of clothing, landscapes, and architectural features, making this a historically and artistically significant piece. As an early European representation of Arctic Indigenous culture, it holds great value for collectors of ethnographic art, Canadian history, and antique travel prints...

Pair of Botanical Engravings from The Botanic Garden by B. Maund, London c.1836 A striking pair of original hand-colored botanical engravings from *The Botanic Garden* by Benjamin M...

Set of Four Antique Mineralogy & Crystal Chromolithographs by Kenngott, 1888 DESCRIPTION: A fascinating set of four original 19th-century scientific plates illustrating mineralo...

This original engraving titled "'t Huys van Niel" (also known as "Praetorium de Niele") depicts a historic building located in the province of Antwerp, Belgium. This copperplate engr...

Plate 24 from "A General System of Horsemanship in All Its Branches," (La Methode et Invention nouvelle de Dresser les Chevaux). William Cavendish Duke of Newcastle's work on equestr...

A vast, light-filled panorama of the Neckar valley at Heidelberg. On the left the castle rises on its wooded hill, its towers and ruined facades catching the sun, and below it the to...

"Guardian of Nootka Sound: A Lyddiker Etching from John Webber's Artistry" This engraving presents a compelling female figure from Nootka Sound, captured with the intricate detail c...

Pair antique gilt framed Amalfi coast scenes . Antique Italian coloured prints of the Amalfi Coast and environs; one view of fishing and sailing vessels along rocky shoreline and the...

Turkey in Asia – Antique Ottoman Empire Map by John Tallis, ca. 1851 This decorative 19th-century map titled "Turkey in Asia" was published by John Tallis & Company around 1851. Eng...

Set of 9 Antique Botanical Engravings of Grasses & Wildflowers, c.1830 This elegant set of nine antique botanical engravings dates from around 1830 and presents a beautifully detail...

Queen Elizabeth I Portrait Engraving, Antique British Royal Print 1784 A striking and highly decorative 18th-century copperplate engraving depict...

Captain Cook Hawaii Engravings, Death & Royal Encounter, Owhyhee, c.1788 This dramatic and historically significant late 18th-century engraving sheet presents two iconic scenes from...

Handcolored Copperplate Engraving of Cashmere Goats and Sheep, Friedrich Johann Bertuch, 1823 This is an exquisite handcolored copperplate engraving depicting a group of Cashmere go...

Antique print titled 'Lamas Prêtres des Tartares - Prêtres Mendians de la Chine (..)'. Original antique print with two images on one plate. The first image shows Lamas, Tatarian prie...

This antique butterfly print shows an exotic butterfly in four views, the upperside, the underside and two separate wings, on an original hand coloured plate from the Vienna edition ...

This is a view of the Vatican in Rome, an original antique steel engraving, uncolored, circa 1850. The caption reads DER VATICAN IN ROM, German for the Vatican in Rome. The dome of ...

Antique Greek Amphorae with Mythological Figures Color Lithograph, 1883 Original antique color lithograph depicting two richly decorated ancient Greek amphorae, published in Berlin in 1883 as part of Albert Genick’s monumental work on Greek ceramics. This impressive landscape-format plate presents two contrasting examples of ancient Greek pottery, both extensively decorated with figural and ornamental scenes. The larger amphora on the left is distinguished by its patterned terracotta handles and broad narrative frieze. A group of standing figures in elaborate dress occupies the principal scene, accompanied by animals including dogs. The figures are rendered in black, terracotta and deep red, creating an unusually rich and decorative composition. Geometric and ornamental borders surround the scene, while radiating decoration emphasizes the lower section of the vessel. The smaller amphora on the right is equally striking. Its principal scene depicts a dramatic mythological encounter between several figures, including a central hybrid or animal-bodied figure. The scene is surrounded by scrolling vegetal ornament, palmettes, geometric bands and a Greek-key meander. A richly patterned palmette frieze decorates the neck. Between the two vessels are small archaeological drawings recording details of their construction and decoration. The strong black, terracotta and deep-red palette, combined with the abundance of classical figures and ornament, makes this one of the particularly decorative plates from Genick’s series. Its horizontal format also lends itself especially well to display above a console, desk or fireplace. The print originates from the second edition of Albert Genick’s important publication on Greek ceramics, published by Ernst Wasmuth in Berlin in 1883. The complete work comprised 36 large color lithographic plates, including four double-page plates, illustrating amphorae, vases, bowls and other examples of ancient Greek ceramic art. The lithographs were produced by the Berlin printing establishment Hein & Mosler. Albert Genick (1837–1906), a Berlin-trained architect, became particularly known for his precise graphic documentation of ancient ceramics. This publication is regarded as his principal work. Complete examples are rare, and individual plates from the series are increasingly difficult to find. Creator: Albert Genick (1837–1906) Publisher: Ernst Wasmuth, Berlin Printer: Hein & Mosler, Berlin Plate: V Date: 1883 Edition: Second edition Technique: Color lithograph Origin: Germany Sheet size: Approximately 46 x 68 cm (18.1 x 26.8 inches) Orientation: Landscape Period: Late 19th Century Style: Neoclassical / Archaeological Revival Condition: Very good antique condition. Strong black, terracotta and deep-red coloring with the details of the vessels remaining well preserved. Light age-related toning with scattered minor foxing and spotting, principally in the background and margins. Minor wear and slight irregularity along the sheet edges consistent with age. Please study the photographs carefully as they form part of the condition description. An original antique lithograph printed in 1883, not a modern reproduction. The print is offered unframed. Any framed or interior images, if shown, are for presentation and inspiration only. Additional companion plates from Albert Genick’s series are available separately. Keywords: Albert Genick, Greek amphorae, Greek amphora, ancient Greek pottery, Greek ceramics, Greek vases, mythological figures, Greek mythology, amphora print, classical pottery, archaeological print, ancient Greece, Greek art, classical figures, figural vase, classical antiquity, Greek key, Greek meander, palmette ornament, black figure pottery...

Pair of Hand-Colored Botanical Engravings of Spring Flowers, London 1828 This elegant pair of early 19th-century botanical engravings captures the charm and precision of British bot...

Antique Louvre Pavilion Architectural Engraving, Paris French Neoclassical Print, 1803 A refined early 19th-century French architectural en...

Original Antique Print of Two Exotic Butterflies by Bertuch, c. 1800 Original antique hand-colored copper engraving depicting two spectacular exotic butterflies, published in Friedr...

An original antique print, a copper engraving colored by hand, lettered "Habit of a Spanish Lady of Quality in 1700." A young woman faces the viewer under a long gray veil that falls...

Original Antique Print of Exotic Moths and Butterflies by Bertuch, c.1820 Original antique hand-colored engraving depicting four spectacular moths and butterflies, published in Friedrich Justin Bertuch’s celebrated “Bilderbuch für Kinder” during the early 19th century. The plate is titled “Insecten LXXXI / Insecta LXXXI / Insectes LXXXI” and bears the reference “XV.B.45” at lower right. Dominating the composition is Fig. 1, an extraordinary large pale yellow-green silk moth with exceptionally long, elegant tails extending from the hindwings. Delicate linear markings, circular eyespots and subtle red accents give the insect an almost ethereal appearance. Fig. 2 depicts another impressive large moth with broad brown forewings and richly patterned hindwings in black, pink and cream. Its strongly striped abdomen and unusual green markings add to the exotic character of the specimen. Figs. 3 and 4 illustrate two smaller but vividly colored butterflies. Fig. 3 combines brilliant red-orange wings with dramatic black markings, while Fig. 4 is predominantly black with a striking border of blue, orange and cream eyespots. The considerable difference in scale between the enormous long-tailed moth and the smaller butterflies creates a particularly effective composition. The restrained pale coloring of the upper specimen contrasts beautifully with the intense red, blue, black and pink of the insects below. The engraving is enhanced with original hand coloring and is a fine example of the fascination with exotic Lepidoptera in European natural-history publications of the early 19th century. Friedrich Justin Bertuch (1747–1822) was a German publisher, writer and patron of the arts. His monumental “Bilderbuch für Kinder” (Picture Book for Children) was one of the most ambitious illustrated educational encyclopedias of its period. Published in Weimar from 1790 onward, it contained hundreds of engraved and hand-colored plates devoted to zoology, botany, geography, science, technology, antiquity and numerous other subjects. Creator: Friedrich Justin Bertuch (1747–1822) Source: Bilderbuch für Kinder Plate: Insecten LXXXI / Insecta LXXXI / Insectes LXXXI Reference: XV.B.45 Subject: Exotic Moths and Butterflies Place of Publication: Weimar, Germany Date of Manufacture: Circa 1820 Period: Early 19th Century Style: Neoclassical – In the Period of Medium: Original hand-colored engraving on paper Condition: Good. Wear consistent with age and use. General age-related toning with scattered foxing, spotting and minor marks. Some discoloration and handling wear are visible. Minor marginal wear and edge irregularities, particularly along the right edge. Original hand coloring remains strong and attractive. Please refer to the photographs for further details of condition. Please note: This is an original antique engraving from the early 19th century, not a modern reproduction. The print is sold unframed. Framed images or interior views, if shown, are for presentation and inspiration only. Other companion butterfly, moth and natural-history plates from Bertuch’s “Bilderbuch für Kinder” are also available separately. Keywords: antique moth...

Warwick Castle River View, English Castle Landscape Engraving, c1850 A finely composed hand-colored architectural landscape depicting Warwick Castle, one of England’s most historic ...

This detailed copper engraving is from Arnoldus Montanus' "Die Unbekannte Neue Welt oder Beschreibung des Welt-teils Amerika und des Sud-Landes," which offers a glimpse into the cere...

Antique India Battle Print – Siege of Mooltan 1849, Elephant War Scene A striking and highly decorative mid-19th century historical engraving depicting The Siege of Mooltan, 1849, o...

Presented is an engraving titled "The Monitor at Work on the Merrimac (or Virginia)," published by the N. Orr Company and illustrated by American artist Harry Fenn. The dramatic comp...

Title: Rare Large 1650 Copper Engraving Depicting the Naval Battle of Gibraltar, 1607 Description: This rare and exceptionally large copper engraving, measuring 32 x 85 cm, capture...

A fine, antique brass easel with Pietra Dura panels and three handpainted portrait miniature paintings, circa 1880. The brass easel of triangular ...

Entry of French Troops into Livorno 1796 – Napoleonic Era Port Scene, 1808 Description: A richly detailed hand-colored engraving depicting the Entry of French Troops into Livorno (L...

An original antique hand-colored print of a woman in an elaborate dress, which is described as the "Habit of a Lady of Quality in France." This suggests that the attire represented is that of an affluent or noble woman from France, possibly from the 18th century given the style of the dress and the method of printmaking. The dress itself features a rich blue gown with gold accents and what appears to be an underskirt or petticoat of a contrasting color, potentially gold or yellow. The woman is wearing a headdress, which also fits with the fashion of the European upper class of the period. Such prints were often part of fashion plates or costume books that depicted the latest styles and were used by tailors, dressmakers, and the fashion-conscious elite to stay up-to-date with the latest trends from various European courts and cities. It's a detailed representation of historical clothing...

Antique map titled 'Perse, Turquie Asiatique et Arabie (..)'. Map of the Middle East with a large Arabia, extending from the Black Sea to the In...

Constantinople Harbor Vue d’Optique by Jacques Chéreau, c.1760 This atmospheric hand-colored vue d’optique depicts the bustling harbor of Constantinople, modern-day Istanbul, viewed...

This is a view of the Grand Canal in Venice, an original antique steel engraving, uncolored, circa 1850. The sheet is captioned in three languages: LE GRAND-CANAL DE VENISE. in Frenc...

This is an original antique copper engraving from 1776, plate XXIV of volume 1 of Carsten Niebuhr's Voyage en Arabie. The caption in the lower margin reads, in Dutch and then in Fren...

St. Catherine’s Monastery at Mount Sinai – Plan and Elevation Engravings c.1776 This striking pair of antique engravings offers a rare architectural study of the renowned monastery ...

This etching and engraving, titled "Loup pris au piège" (Wolf Caught in a Trap), depicts a wolf ensnared in a trap. The artwork captures the wolf's struggle and distress with precise...

The image uploaded is a hand-colored engraving depicting various fungi, likely from the 'Dictionnaire Classique des Sciences Naturelles' by Pierre Auguste Joseph Drapiez, published in 1845. Here's a description of each depicted fungus and a proposed title for the image: 1. **Agaric Orange (Orange Agaric)**: This mushroom features a cap with an orange-brown color and a white stalk. The underside gills and the volva at the base are also illustrated. 2. **Pezize Bleue (Blue Cup Fungus)**: These are depicted as cup-shaped fungi with a rich blue interior and a pale outer surface, likely representing the genus Peziza. 3. **Tremelle Oreille de Judas (Judas's Ear Fungus)**: A brown, ear-shaped fungus that resembles the species commonly known as "wood ear...

Chikanobu Triptych – Shogun Returns from the Hunt in Koganehara, c.1897 This powerful and dynamic triptych by Toyohara Chikanobu (1838–1912) depicts the Shogun and his retinue returning from a falconry hunt across the vast grasslands of Koganehara. The print is part of the celebrated Meiji-era series Chiyoda no Omote (Outer Palace of Chiyoda), which portrayed ceremonial and military scenes from the life of the Tokugawa shogunate. This series blends historical reverence with a modern Meiji sensibility, celebrating Japan’s warrior heritage at a time of rapid transformation. Rendered in rich color and vivid linework, the triptych shows a noble procession in motion: the mounted Shogun at center turns back toward the viewer, while falconers and warriors in elaborate dress surround him. Attendants carry game and falconry equipment, and a dense forest line marks the horizon behind them. The sweeping composition emphasizes both movement and status, with the central figure visually dominant and placed against a pale, open sky. The triptych is signed by Chikanobu with the toshidama cartouche and published by Fukuda Hatsujirō around 1897. Chikanobu, one of the last great ukiyo-e masters, was celebrated for his ability to capture imperial ceremony, samurai culture, and the feminine elegance of the court — often in triptych format for dramatic impact. While the work shows some age-related signs, it retains strong visual appeal and is a compelling historical document of samurai-era tradition as imagined through Meiji eyes. Condition report: Good overall condition considering age. The three sheets are mounted together on old Japanese paper backing (verso), which is loosening slightly along the joins. Light overall toning and minor wrinkling across the panels. Colors remain well preserved with strong impression and no major losses or tears. Margins present, minor handling wear visible. A stable and attractive display piece. Framing tips: We recommend float mounting the full triptych in a custom horizontal frame, allowing the slight backing and joins to remain visible as part of its historical charm. Use a dark walnut or black lacquer frame with an off-white or light beige acid-free mat. Proper archival mounting can help preserve the integrity of the backing while enhancing its display quality. Technique: Woodblock print (ōban triptych) Maker: Toyohara Chikanobu, Japan, c.1897 Publisher: Fukuda Hatsujirō Keywords: Chikanobu triptych, samurai falconry print, Japanese woodblock print, Meiji print, Chiyoda no Omote, shogun artwork, Koganehara, antique Japanese triptych...

Title: Detailed Study of Butterfly Wing Structures, 1798 Hand-Colored Engraving Description: This 1798 hand-colored copperplate engraving from Friedrich Johann Bertuch's "Bilderbuch...

Bending Male Nude Study after de Lairesse German Drawing Manual c1745 Description: This compelling academic study of the male nude originates from the German edition of Gérard de La...

Antique New Mexico Landscape Print, Wagon Train Scene, Meyer 1850s This atmospheric mid-19th-century engraving presents a striking frontier landscape titled “Landschaft bei der Furt...

This is an original antique steel engraving, uncolored, lettered below the view "CAPITOL OF THE UNITED STATES, WASHINGTON." The building is seen across a wide open ground: a long cla...