1850s Wall Decorations

Set of 4 David Roberts lithographs - Egypt and the Holy Lands. Black and gold frames with large creme colored mats.

Utagawa Kuniyoshi (Japanese, 1798-1861) A tryptich woodblock print depicting Ota Harunaga observing the restoration of the Kiyosu Castle, 1847-1852. sight: 29 ¾ by 14 ½ inches...

Title: 1855 Ceremonial Procession – Peter Rot of Basel with the City Banner This distinguished hand-colored lithograph, created by H. Jenny and lithographed by Kümmerly and Wittme...

19th century French painted paper and mother of pearl fan, shadow-box framed antique ladies fan, made of mother of pearl with a hand embellished re...

Depicting a lake and figures in landscape. Giltwood frame. Relined.

Presented is a handsome steel engraving, a patriotic composition of the facsimile signatures of the signers of the Declaration of Independence. The engraving is from John H. Hinton’...

Artist: Utagawa Hiroshige (1797 - 1858) Series: Pictures of Famous Places in the Sixty-odd Provinces Number: 5: Settsu Province: Sumiyoshi, Idemi Beach Medium: Woodblock Print Date: 1853 (Kaei 6), 7th month Number of Prints: 70/70 (inc. Title Page) Format: Vertical Oban Size (H x W): 14" x 9.25" print only. Publisher: Koshimuraya Heisuke (Koshihei) Block Cutter: Yokokawa Takejirô (Hori Take) Signature: Hiroshige hitsu Additional marks: Censors' seals: Mera, Watanabe, Ox 7 Displayed with mat and gilt wood frame. Reference: For an identical print, see the collection of MFA Boston...

Great image after Carlo Dolci Fine steel engraving Published circa 1850 Unframed. Free shipping

Great image after Guercino Fine steel engraving Published by Fisher circa 1850 Unframed. Free shipping

Wonderful image after Rubens Fine steel engraving. Published C.1850 Unframed.

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

Title: Spectacular View of Valley La Cuesta, Rio Pecos - 19th Century Lithograph Description: This breathtaking lithograph captures the scenic beauty of the Valley of La Cuesta al...

Artist: Utagawa Hiroshige (1797 - 1858) Series: One Hundred Famous Views of Edo (1856-58) Number: 39 Distant View of Kinryuzan Temple and Azuma Bridge Publisher: Uoya Eikichi Format: Vertical Oban Number of Prints: 120/120 (inc. title page and a replacement print by Hiroshige II) Medium: Woodblock Print Date: 1857 (Ansei 4), 8th month Size (H x W): 14" x 9.25" print only. Signature: Hiroshige ga Censor's seals: aratame, Snake 8 No blockcutter's mark Reference: For a similar print, see the collection of Art Institution Chicago Accession Number 1938.536 and 1965.1062; MFA Boston...

Great image by Heinrich Leutemann From the Reynard The Fox series Fine steel engraving Published by A.H. Payne C.1850 Unframed.

Wooden barometer with cedar wood trim at the edges, signed Caux Opticien Rue Rivoli près du Louvre Paris, mid-19th century; dial with the meteorological indications on paper printed ...

Great image by Heinrich Leutemann From the Reynard The Fox series Fine steel engraving Published by A.H. Payne C.1850 Unframed.

Mid 19th Century Pair of Chinese Silk Metal Embroidery (7" x 1' 9" - 18 x 54)

A framed set of 13 pages from "The Lu Lu Alphabet", a chapbook from 1851 published by Samuel Ragnot, NYC. This set comprises the first letters A through M, each with a short rhyming ...

This ornate, antique paper hand fan was crafted in France, circa 1850. the one side showing a candlelit interior where Gallant scene on the reverse with a box but no glass of box. Se...

Great image by Heinrich Leutemann From the Reynard The Fox series Fine steel engraving Published by A.H. Payne C.1850 Unframed.

Great image by Heinrich Leutemann From the Reynard The Fox series Fine steel engraving Published by A.H. Payne C.1850 Unframed.

Great image by Heinrich Leutemann From the Reynard The Fox series Fine steel engraving Published by A.H. Payne C.1850 Unframed.

Great image by Heinrich Leutemann From the Reynard The Fox series Fine steel engraving Published by A.H. Payne C.1850 Unframed.

Great image by Heinrich Leutemann From the Reynard The Fox series Fine steel engraving Published by A.H. Payne C.1850 Unframed.

Great image by Heinrich Leutemann From the Reynard The Fox series Fine steel engraving Published by A.H. Payne C.1850 Unframed.

Artist: Utagawa Hiroshige (1797 - 1858) Series: The Fifty-three Stations of the Tokaido (Upright) Number: 6 Totsuka: View of Fuji from the Mountain Road (Totsuka, Sando yori Fuji chobo) Medium: Woodblock Print Date: 1855 Format: Vertical Oban Size (H x W): 14" x 9.25" print only. Publisher: Tsutaya Kichizo Seals: Aratame and date Signature: Hiroshige hitsu...

Wonderful image after Carracci Fine Steel engraving. Published C.1850 Unframed.

A wonderful portrait of Lord Byron. Inscribed on bottom edge. Fabulous quality In a lovely antique penwork frame By Robert Hindmarsh Grundy*. Initialed on bottom edge On paper ...

Great image after Guercino Fine steel engraving Published by Jones circa 1850 Unframed. Free shipping

Wonderful image after Correggio Fine Steel engraving. Published Fisher, London, circa 1850 Unframed.

Wonderful image after Daniele Crespi Fine Steel engraving. Published by Blackie C.1850 Unframed.

Habits et Maisons des Floridiens, Early Florida Ethnography – French Engraving, c.1757 This rare and evocative 18th-century French engraving titled Habits et Maisons des Floridiens...

The Landing on the American Side, Niagara Falls – Antique American Engraving, ca.1850 This atmospheric 19th-century engraving titled The Landing on the American Side (Falls of Niaga...

Fort Vancouver, Washington Territory, U.S. Railroad Survey View – ca.1850 This historically important 19th-century print titled Fort Vancouver, W.T. presents a detailed panoramic vi...

A beautiful watercolor of a young lady. Fabulous quality In a lovely antique birds eye maple frame The sitter is Lucy Grundy. Related to the artist Robert Hindmarsh Grundy...

Lovely woolwork of a child with a dog Good condition. Bright colours, no fading Original faux bois painted frame Free UK shipping

Declaration of Independence Signatures Facsimile – Binns Engraving, 1820s This antique facsimile presents the signatures of the signers of the Declaration of Independence, July 4, 1...

Charleston Harbor, South Carolina – American Port View, Sailing Ships, c.1850 Description: This refined mid-19th-century engraving presents a tranquil harbor view of Charleston, Sou...

Antique print titled 'Elisabeth Kulmann'. Portrait of Elisabeth Kulmann, after a bust by Paolo Catozzi. Elisabeth Kulmann was a Russian-born poet and translator who worked in Russian, German and Italian. This print originates from 'Meyers Konversations-Lexikon' published circa 1850. Kulmann was born in the Russian Empire, where she and her family lived on Vasilyevsky Island in St. Petersburg. As a child, Kulman showed phenomenal philological abilities, learning ancient and modern languages under the direction of Karl Grosgeynrikh. She achieved fluency in 11 languages. Kulman wrote over 1,000 poems before her death at age 17. Robert Schumann considered her a wunderkind and set some of her poems to music including "Mailied" ["May Song"] and "An den Abendstern" ["To the Evening Star"]. Kulman was buried in the Smolensky Cemetery in St. Petersburg, in a tomb bearing a carving by Alexander Triscorni - a marble sculpture of a girl on a bed of roses. The monument bears inscriptions in several languages, including Latin: Prima Russicarum operam dedit idiomati graeco, undecim novit linguas, loquebatur octo, quamquam puella poetria eminens (The first Russian young girl, who knew the Greek language, and learned eleven languages, spoken in eight, and was an excellent poet). In the 1930s, the Soviet authorities moved Kulman's remains to the Tikhvin Cemetery in the Alexander Nevsky...

Fine Danish portrait painting of a girl and boy, unclear signature in monogram and dated "1851". Amazing and charming painting. Measures: H. 60, W. 50 cm. H. 23.6, W. 19.6 in. ...

Presenting a magnificent 19th-century Orthodox icon The Pantocrator. This piece is painted in tempera on a wooden panel, exemplifying traditional religious artistry from this era. ...

These original antique prints are beautiful examples of botanical illustrations featuring tropical plants, drawn with precise detail and coloration. The Latin and English names of th...

A girl wearing a traditional German costume is carrying a rooster in a basket. The German painter Heinrich Ewers was born in Wismar 1817 and died in Duesseldorf...

A large well-detailed musical picture clock. The oil painting on canvas depicts a village scene in Europe with manor home, mountains at sunset in...

We are delighted to offer for sale this stunning original pair of circa 1850 Silk Embroidered pictures depicting birds and fruit A very good looking and decorative pair, they hav...

1082 - These antique wall tapestries were hand woven in France, circa 1850. Called "Portière", the Portière tapestries are tall, slender wall h...

The Old Graben in Vienna – 19th-Century Hand-Colored Engraving, 1853 A charming original 19th-century hand-colored engraving depicting Die alte Graben-Ecke in Wien (“The Old Graben ...

Title: 1855 Grand Cavalcade – Hans von Hallwyl and His Household Banner Description: This elegant hand-colored lithograph, created by H. Jenny and lithographed by Kümmerly and Wi...

Antique Engraving of the Military School at West Point, NY, c. 1850 This antique engraving beautifully depicts the prestigious United States Military Academy at West Point, New York...

Antique engraving of a state prison in Sicily by Zeyer & French, c.1840–1860 This dramatic antique engraving presents a coastal view of a state prison in Sicily, titled in German “...

A 19th century continental mythological oil painting on canvas of Aphrodite and Adonis, after the 16th century painting by Titian (now in the Metropolitan Museum of Art, New York) ...

Antique print titled 'G. Lamongan'. Beautiful lithograph of Gunung Lamongan. Gunung Lamongan or Mount Lamongan (1,651m - 5, 417 ft) is a small stratovolcano located between the massi...

Large pair of Emile Pinedo of portrait medallions on marble plaques Emile Pinedo 1840-1916 "MINERVA and MARS," A large pair of portrait medallions on marble plaques Paris, France -...

Great image after Raphael Fine steel engraving Published by Fisher circa 1850 Unframed.

A stone's throw from the Eiffel Tower We are a family business specializing in the purchase, sale and expertise of old, modern and contemporary tapestries, rugs, kilims and textiles....

Botanical Illustration of Persian Iris: Iris persica from Iran This lithograph depicts the Iris persica, commonly known as the Persian Iris. Native to Iran (Persia), this species of...

Japanese two panel screen: Amorous Cranes and Turtles. In Japan, cranes symbolize fidelity as they mate for life and turtles symbolize longevity. Additionally, this screen also has the Japanese motif of sho-chiku-bai, or the three friends of winter (pine, plum, and bamboo). So called the three friends of winter because all three flourish during the cold months. This screen was originally fusuma doors...

Historic Engraving of Newburgh, NY with Hudson River View, c. 1850 This antique engraving beautifully captures a mid-19th-century view of Newburgh, New York, nestled along the sceni...

Title: Hand-Colored Botanical Lithograph of Sunflower and Linden Tree, Calwer, 1854 This vibrant botanical lithograph is from Carl Georg Calwer’s Deutschlands Technische Pflanzen ...

Triumphal March – Caspar von Hertenstein Leading the Lucerne Regiment This grand hand-colored lithograph, created by H. Jenny and lithographed by Kümmerly and Wittmer, is part of ...