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Early 18th Century Wall Decorations

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Period: Early 18th Century
Simon Thomassin French Print " La Gloire De La France" Etched with Wooden Frame
By Simon Thomassin
Located in Prato, Tuscany
We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Beaut...
Category

French Neoclassical Antique Early 18th Century Wall Decorations

Materials

Wood, Paper

Antique Map of the Diocese of Toul by Covens & Mortier, circa 1720
Located in Langweer, NL
Antique map titled 'Civitas Leucorum sive Pagus Tullensis'. Detailed map of the Diocese of Toul, France. Centered on the cities of Nancy and Toul and including Metz, Verdun, S. Dizie...
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Antique Early 18th Century Wall Decorations

Materials

Paper

Antique Portrait of Michiel De Ruyter by B. Picart, 1728
Located in Langweer, NL
Antique Print titled 'Michiel Adriaensz Ruyter, Ridder, Lt. Admiraal van Holland en Westvriesland'. Signed under the oval on the left: "B. Picart sculp. dir. 1728". This print origin...
Category

Dutch Antique Early 18th Century Wall Decorations

Materials

Paper

Antique Print of Turkish Slavery and Jail by P. van der Aa, circa 1725
Located in Langweer, NL
Rare antique print, in this scene: 1. Tatars with slaves and their cruelty. 2. Slave market. 3. Charity bag at the jail tower. 4. Their miserable life. 5. Feet punishment / torture. 6. Thrown before the birds. 7. Sticked. 8. Transported on a galley. 9. Severe regime. 10. Carrying wood...
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Antique Early 18th Century Wall Decorations

Materials

Paper

18th Century Large Hand-Tinted Botanical Lithograph
Located in Los Angeles, CA
18th century large hand-tinted botanical lithographs. Beautiful images to hang in powder room, framing doorways, kitchens or anywhere! The measurement below is for the frame only. ...
Category

English Antique Early 18th Century Wall Decorations

Materials

Paper

Early 18th century Flemish antique tapestry 10x13 Verdure Wool & Silk 297x384cm
Located in New York, NY
Early 18th Century Antique Flemish Tapestry Fine Verdure Wool & Silk 9'9" x 12'7"(10x13) 297cm x 384cm Circa 1720 "This is a very fine Authentic Antique Flemish wool & silk Tapest...
Category

French Baroque Antique Early 18th Century Wall Decorations

Materials

Wool, Silk

Baroque Brass Alms Plate
Located in Essex, MA
Smaller size with embossed decoration.
Category

European Baroque Antique Early 18th Century Wall Decorations

Materials

Brass

European Brass Alms Plate
Located in Essex, MA
Alms plates were used to collect donations during church services. This plate depicts Adam And Eve.
Category

European Baroque Antique Early 18th Century Wall Decorations

Materials

Brass

Pair Italian Early 18th century Oil on Canvas Paintings, Harbor and Landscape
Located in Atlanta, GA
The paintings, respectively, of a harbor with a fortress and ships and a landscape with ruins and figures, in period giltwood frames
Category

Italian Louis XIV Antique Early 18th Century Wall Decorations

Materials

Paint

Pair of 18th century oil paintings by Gasparo Lopez still life
Located in Debenham, Suffolk
Original oil on canvas 'laid on wood panels', by gasparo lopez (gasparo "Dei fiori" lopez; 1650-1732) florence, italy. Faintly signed with the initials 'gl', see close ups, sepia ins...
Category

Italian Georgian Antique Early 18th Century Wall Decorations

Materials

Wood, Paint

Pair of 18th c Belgian Mounted Tapestry Fragments with Putti or Angels
Located in Milford, NH
Pair of Brussels tapestry fragments finely woven of silk and wool featuring angels or putti carrying a basket of flowers above their heads. Opposing angels, one with a gold draped cl...
Category

Belgian Baroque Antique Early 18th Century Wall Decorations

Materials

Wool, Silk, Wood

Tapestry Royal Manufacture of Aubusson, Louis XVI period 1738 at the Gobelins
Located in Madrid, ES
Tapestry from the Royal Manufacture of Aubusson, Louis XVI period , made in 1738 at the Gobelins One panel from a series of Gobelins tapestries depicting the History of Esther, illustrating Esther seated and attended by handmaidens, one washing her feet in golden basin, another fastening a bracelet, another offering a mirror, all observed by Mordecai, woven in the workshop of Michele Audran after a design by J. F. de Troy. The Toilet of Esther c.1778-85.Royal Collection Trust-Queens Audience Chamber Windsor Castle The Sketches for the Esther Cycle by Jean-François de Troy (1736) “and the maid was fair and beautiful; whom Mor’decai, ..., took for his own daughter.” (Est. 2:7) A supple and undulating genius, both a flattering portraitist and a prolix history painter, as well as a brilliant genre painter, in a gallant or worldly vein, Jean-François de Troy (Paris, 1679 – Rome, 1752), solicited, although he had passed the threshold of old age, a new royal commission up to his ambitions. To obtain it, he submitted – successfully - for the approval of the Bâtiments du roi (administration), seven modelli painted in 1736 with his usual alacrity. Inspired by one of the most novelistic texts of the Old Testament, the Book of Esther, these sketches in a rapid and virtuoso manner were transformed by the artist, between 1737 and 1740 into large cartoons intended to serve as models for the weavers of the Gobelins factory. Showing undeniable ease and skill in the composition in perfect harmony with the sensitivities of the times, the tapestry set met with great success. The Story of Esther perfectly corresponded to the plan of the Bâtiments du roi to renew the repertoire of tapestry models used for the weavers of the royal factories while it also conformed to the tastes of Louis XV’s subjects for a fantastical Orient, the set for a dramatic tale in which splendour, love and death were combined. Indeed, no tapestry set was woven in France during the 18th century as often as that of Esther. The series of modelli painted by de Troy during the year 1736 looks to the history of French painting and decoration under Louis XV as much as it does the history of the Gobelins. It probably counts among the most important rococo pictorial groups to have remained in private hands. First the Biblical source illustrated by De Troy which constitutes the base of one of the richest iconographical traditions of Western art will be considered. Then the circumstances and specific character of French civilisation during the reigns of Louis XIV and Louis XV which contributed to making the theme of Esther a relevant subject, both attractive to contemporaries and remarkably in line with the sensitivities of the time will be elucidated. An examination of the exceptional series of sketches united here, the cartoons and the tapestries that they anticipate as well as a study of their reception will close this essay. The Book of Esther: A scriptural source at the source of rich iconography. The origin of the Esther tapestry set by Jean-François de Troy – origin and creation of a masterpiece According to the evidence of one of the artist’s early biographers, the chevalier de Valory, author of a posthumous elegy of the master, read at the Académie royale de peinture et de sculpture on 6 February 1762, it was apparently due to early16 rivalry with François Lemoyne (1688-1737), his younger colleague who had precisely just been appointed First Painter to the King in 1736, that had encouraged François de Troy to seek a commission allowing him to show off his ease and his promptitude at the expense of a rival who was notoriously laborious: “M. De Troy, retaining some resentment of the kind of disadvantage which he believed to have suffered compared with his emulator looked to regain some territory by making use of the facility his rival did not possess. Lemoyne was excessively long in the creation of his works,and M. De Troy of a rare celerity: consequently, with this particular talent, the latter offered to the court to make paintings appropriate to be executed at the Gobelins Factory; and it is to this circumstance that we owe the beautiful series of the Story of Esther, which would be sufficient alone to give him a great reputation.”17 Beyond the suspicion inspired by the topos, which still constitutes, more or less, a tale of rivalries between artists in ancient literature, there is probably some truth in what Valory reports although A.-J. Dezalier d’Argenville (who indicates rather spitefully that de Troy did not hesitate to “cut prices” to impose himself, benefitting from the productivity assured by the unlikely rapidity of his brush)18 proves to be more evasive: “As he looked to busy himself, he had offered to make the paintings that serve as models for the King’s tapestries cheaply: which did not please his colleagues. He was given a choice of two tapestry series to be made and he took the Story of Esther and that of Jason”.19 Whether or not the choice was actually left to de Troy (which would appear rather casual on the royal administration’s part all the same), it seems likely that the artist, whose contemporaries extol his “fire”, as the faculty of invention was then called, must have ardently aspired to the possibility of using on a very large scale the “creative genius” with which Dezallier d’Argenville credits him. The decoration of the private apartments, the fashion for which Louis XV had promoted at Versailles and Fontainebleau, offered little opportunity to excel in this area. Other than painting for altarpieces, only tapestries could allow comparison with Lemoyne who had been granted – unfortunately for him – a major decoration: the enormous ceiling of the Hercules Room at Versailles. Favoured by the recent improvement in France’s financial situation, the revival of patronage offered de Troy a commission fitting for him, in a field in which, however, he had hardly any experience. Anxious to renew the repertoire of models available to the Gobelins factory, the Duc d’Antin, surintendant des Bâtiments du roi from 1708 to 1736 followed by his successor, Philibert Orry comte de Vignory, gave him the task of producing seven large cartoons inspired by the Book of Esther corresponding to the brilliant sketches or modelli which de Troy had produced in one go, or almost (very few preparatory drawings can in fact be linked to the Esther cycle and all seem to be at the execution stage of the cartoons).20 Subjected to the approval of the Administration des Bâtiments according to the procedure in use for projects being planned for the Gobelins, sketches made rapidly during 1736 were approved and the project launched immediately. Thereupon came the news of François Lemoyne’s death, who, ground down by work and a victim of his private torment, committed suicide on 4 June 1737. Against all expectations, de Troy did not replace his rival in the position of First Painter (which remained vacant until the appointment of Charles Coypel in January 1747), which would perhaps have made him too obviously the beneficiary of the drama. The awarding of the position of Director of the French Academy in Rome came to console him while he had already produced (or he was in the process of finishing), in Paris, three of the seven cartoons of the cycle (The Fainting of Esther finished in 1737 and the Toilet and Coronation of Esther, both finished in 1738). De Troy, we can see, did not follow the order of the narrative but began with the subjects which apparently offered the least difficulty because he had already depicted them, or because they fall into a strong pictorial tradition (such is the case especially for the Fainting of Esther). He had hardly settled at the Palazzo Mancini in August 1738, when his first task which awaited the new director of the French Academy naturally consisted of honouring the royal commission and finishing without delay the final cartoons of the Story of Esther after the sketches he must have taken with him. As prompt as ever, de Troy discharged himself of the execution of the four remaining cartoons in only two years, by beginning with the largest format which allowed him to strike the imagination and to impose himself as soon as he arrived on the Roman stage: the Triumph of Mor’decai which was finished in 1739 (like Esther’s Banquet). The following year, the Mor’decai's Disdain and The Sentencing of Haman were brought to an end in the same Neo-Venetian style, obviously tributary to Veronese with its choice of “open” monumental architecture which is characteristic of the entire cycle.21 The series, it should be noted, was almost augmented with some additional scenes in the mid 1740s. Indeed, the first tapestry set finished at the Gobelins in 1744 proved to be unsuitable for the arrangement of the Dauphine’s apartments at Versailles for which it had been intended to decorate the walls the following year (cf infra). Informed of this, de Troy, considering that the story of Esther offered “several good subjects,” immediately offered to illustrate one or new subject among those “which could appear to be the most interesting”. The directeur des Bâtiments Orry, who managed the State’s accounts, obviously judged it less costly to have one of the tapestries widened to fill in the end of the Dauphine’s bedroom,22 which has probably deprived us of very original compositions, because de Troy had already illustrated the most famous themes, those that benefitted from a strongly established iconographical tradition and from which it was not easy to deviate The Tapestry Set of the Story of Esther Placed on the tapestry looms of the Gobelins at the end of the 1730s in Michel Audran’s workshop, the cycle created by de Troy aroused true infatuation. The few hundred tapestries made between 1738 and 1797 – all in high-warp tapestry and woven in wool and silk except for four in low-warp made in Neilson’s workshop – show the impressive success of a tapestry set that was without any doubt the most frequently woven of the 18th century in France. 29 Only three cartoons had been delivered by de Troy in 1738 when the first tapestry set was begun by Audran under the expert eye of Jean-Baptiste Oudry to whom the Directeur général des bâtiments, Philibert Orry had assigned the (weekly) supervision of the weaving. During the summer of 1738, the piece of the Fainting of Esther, which Oudry judged to be admirable, was finished. During the winter of 1742, Oudry informed Orry that about two ells of the Triumph of Mor’decai had been made “with no faults”,that the Coronation of Esther was finished and that the Esther at her Toilet “a very gracious tapestry” was “a little over half” finished. Exhibited at Versailles in 1743, these two last pieces were admired by Louis XV and the Court. On 3 December 1744, the set of seven tapestries was finally delivered to the Garde Meuble. It was intended, the honour was not slight, to decorate the apartments of the Infanta Maria Teresa Rafaela of Spain whose marriage to the young Dauphin Louis-Ferdinand had been fixed for the following year (it took place on 23 February 1745). Apparently it was thought that the theme of Esther the biblical heroine and wife of a foreign sovereign was appropriate for the apartments of the Spanish Dauphine. As early as the month of March, the architect Ange-Jacques Gabriel informed de Troy that her grand cabinet was decorated with the “Esther tapestry set” specifying however that “for lack of two small or one large piece, we have not been able to decorate the end of the room”. This difficulty led immediately to the Banquet episode being woven a second time in two parts (they were delivered to the Garde-Meuble on 30 December 1746) to garnish the panels on each side of the bed of the Dauphine who would hardly enjoy them (she died on 22 July 1746 and the decoration was installed for the new Dauphine Maria Josepha of Saxony). The appearance of the set’s remarkable border, which imitated a richly sculpted wooden frame, should be mentioned. Conceived in 1738 by the ornamentalist Pierre Josse-Perrot and used in the later weavings until 1768, it tended to reinforce the resolutely painterly appearance of the tapestry set which, in this regard, pushed the art of tapestry as far as its ultimate mimetic possibilities. With the exception of Mor’decai's Disdain which had been removed earlier, the “editio princeps” of the story of Esther (from then on in nine pieces) remained at Versailles until the Revolution. Of the eight surviving tapestries, four are at the chateau of Compiègne and four belong today to the Mobilier National. No less than seven tapestry sets reputed to be complete (one of them in fact only had six tapestries) would be produced officially at the Gobelins up to 1772. Literature: 1- The Œuvres mêlées of an emulator of Racine, the Abbé Augustin NADAL thus include an Esther. Divertissement spiritual which is exactly contemporary with Jean François de Troy’s cycle since it was performed in 1735 and published in Paris three years later. 2-Le Siècle de Louis XIV, 1751, 1785 ed., p. 96-97 for French ed. 3- Lemoyne and de Troy had been obliged to share the First Prize in the competition organised in 1727 between the most prominent history painters of the Académie Royale. 4- Mémoires…, pub. L. DUSSIEUX et al., 1854, II, p.265. 5-The fact that de Troy, at the risk of falling out with his colleagues, did not hesitate to make use of prices in order to convince the new directeur des Bâtiments Philibert Orry, is confirmed by Mariette who adds tersely “it caused much shouting” (pub. 1851-1860, II, p. 103). 6- Abrégé de la vie des plus fameux peintres…, ed. 1762, IV, p. 368-369 20 Early comments on the painter are inclined to present him as a kind of “pure painter”, doing without the medium of drawing, a few intermediary studies between the Esther sketches and the large cartoons at the Louvre nevertheless show that de Troy used red chalk (see in the catalogue, the notice for the Meal of Esther and Ahasuerus under the entry drawing) to change one or other figure. 7-C. GASTINEL-COURAL (cat. exp. PARIS, 1985, p. 9-13) as well as the article by J. VITTET, exh. cat. LA ROCHE-GUYON, 2001, p. 51-55. 8-The Hermitage in St. Petersburg conserves five tapestries of these two royal gifts whose provenance still awaits elucidation (as far as we are aware). In 1766, the Grand Marshal of Russia, Count Razumovski (or Razamowski), acquired the Fainting and the Banquet extracted from the sixth weaving (J. VITTET, 2001, p. 53). 9- Lettres écrites de Suisse, d’Italie…,quoted by J. VITTET, op. cit., p. 54. 10-The tapestry set remained in the hands of a branch of the Hapsburg-Lorraine family until 1933 (ibid. P. 54). 11-Quoted by Chr. LERIBAULT, 2002, p. 97, note 269. 12-Y. CANTAREL-BESSON, 1992, p. 241. Catalogue The Esther at her Toilet Oil on canvas, 57 x 51 cm Provenance: Painted in 1736 at the same time as the six other modelli of the Story of Esther intended to be presented, for approval, to the direction des Bâtiments du Roi; perhaps identifiable among a lot of sketches by Jean-François de Troy in the post mortem inventory of the amateur, historian and critic Claude-Henri Watelet (1718-1786) drawn up on 13 January 1786 and following days (A.N. T 978, n° 30) then in the sale of the property of the deceased, Paris, 12 June 1786, n° 33; Paris, François Marcille Collection (who owned a series of six sketches from which the Triumph of Mor’decai was missing, see infra); Paris, Marcille Sale, Hôtel Drouot, 12-13 January 1857, n° 36; Asnières, Mme de Chavanne de Palmassy ( ?) collection; Paris, Galerie Cailleux; Paris, Humbert de Wendel collection (acquired from the Galerie Cailleux in 1928); by inheritance in the same family; Paris, Sotheby’s, 23 June 2011, n° 61. In order not to add unnecessarily to the technical commentary on each work, the catalogue raisonné by Chr. Leribault which contains a substantial bibliography on the series should be referred to. The other bibliographical references only concern the publications and exhibitions to have appeared and been presented more recently. Bibliography and Exhibitions: Chr. LERIBAULT, 2002, n° P. 247 (repr.); E. LIMARDO DATURI, 2004, p. 28; Exh. cat. NANTES, 2011, p. 138, n° 34, referred to in note 1; Sotheby’s catalogue, Tableaux anciens et du XIXe siècle, 23 June 2011, n° 61 (repr.). Related Works: Tapestry cartoon: The cartoon (oil on canvas, 329 x 320 cm), the third made by the artist in Paris after the sketches had been approved by the direction des Bâtiments, is in the Louvre (Inv. 8315). It previously bore the painter’s signature and the date 1738 (inscriptions which are found on the tapestries). The royal administration paid 1600 livres for it on 21 June 1738 and it was exhibited at the Salon in the year of its creation. Summary Biography 1679 (27 January): Baptism in Paris (Parish of St. Nicolas du Chardonnet) of Jean-François de Troy, son of the painter François de Troy and Jeanne Cotelle, sister of the painter Jean II Cotelle. 1696-1698: Studies (apparently rather turbulent) at the Académie royale de peinture et de sculpture. 1698-1708: First trip to Italy. Is obliged to leave Rome in January 1711 after a tempestuous affair (a duel?), de Troy extends the traditional Roman experience as a pensionnaire at the Académie de France by also visiting Tuscany where he stays for a long time, Venice (his art in face has a strongly Venetian character) and Genoa. 1708: De Troy (whose father had been elected Director of the Académie royale de peinture et de sculpture on 7 July) is agréé and immediately received at the Académie with Apollo and Diana Piercing with their Arrows the Children of Niobe (Montpellier, Musée Fabre) on 28 July. 1710: First royal commission, paid for on 10 May (a sketch representing “the Promotion of the Order of the Holy Spirit” for the tapestry series of the History of the King). 1716: Jean-François de Troy is elected Assistant Professor at the Academy. 1720: He is appointed Professor. 1723: The artist creates the double portrait of Louis XV...
Category

French Baroque Antique Early 18th Century Wall Decorations

Materials

Silk, Wool

18th Century Oil On Canvas In Gilt Frame School Of Nicolas De Largilierre
By (circle of) Nicolas de Largillierre
Located in London, GB
School of Largillierre, Portrait of a Lady of the Verheyden Family. The original frame is black lacquered wood with gilt insert. Nicolas de Largilliere (1656-1746), was born in Paris...
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French Rococo Antique Early 18th Century Wall Decorations

Materials

Canvas

Framed Antique Print of the Temple Orientale Oosterkerk in Amsterdam, 1710
Located in Langweer, NL
Original hand-coloured engraving anno 1710 with title: Templum Orientale / Oosterkerk. The Oosterkerk is a 17th-century church building on the Wittenburgergracht in Wittenburg (Amst...
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Antique Early 18th Century Wall Decorations

Materials

Paper

A Set of Four Late 18th Century / Early 19th Century Allegorical Paintings
Located in Dallas, TX
A set of four (4) Late 18th Century / Early 19th Century allegorical paintings amongst landscapes amongst classical ruins, relived frames contemporary pictures most likely. Italian. ...
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Italian Neoclassical Antique Early 18th Century Wall Decorations

Materials

Canvas

EARLY 18th CENTURY OVAL PAINTING VENUS AND CUPID
Located in Firenze, FI
This beautiful oval painting, created using the oil on canvas technique, features a horizontal orientation and depicts the goddess Venus half-naked and sitting on a stool, while she ...
Category

Italian Antique Early 18th Century Wall Decorations

Materials

Canvas, Wood, Paint

Early 18th Century Portrait of Nobleman Outfitted in Suit of Armour
Located in New Orleans, LA
Early 18th century portrait of nobleman outfitted in suit of armour, with plumed hat, rose velvet, and white silk sash, set on pastoral background.
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French Antique Early 18th Century Wall Decorations

Materials

Paint

Chinese Export Watercolor Exotic Bird Paintings on Paper
Located in Downingtown, PA
China Trade watercolor paintings of exotic birds on branches are in watercolor and gouache on Chinese paper. One picture depicts a pigeon perched on a tree branch with a landscape background. Chinese calligraphy can be seen in the top right corner. The second picture depicts two courting birds in shades of brown, both perched on a branch, also in a landscape background. Both paintings framed with a green silk mat and contemporary gilt and dark wood frame. Reference: Chinese Export...
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Chinese Chinese Export Antique Early 18th Century Wall Decorations

Materials

Paper

Oil on Canvas Portrait, c.1720
Located in Petworth, GB
OIL ON CANVAS PORTRAIT Follower of Rembrandt Van Rijin (1606 -1669) A well executed 18th century portrait study of a young military man, in formal dress with a feather plume.
Category

European Antique Early 18th Century Wall Decorations

Materials

Canvas

Antique 1698 Swedish Baroque Manor Estate Etchings - Set of 3
Located in Seguin, TX
Set of 3 antique 1698 bird's-eye view etchings of Baroque Swedish estates and gardens by Johannes van den Aveelen, 1698. Includes Noor, Roserberg and Malma. From a large series of e...
Category

Swedish Baroque Antique Early 18th Century Wall Decorations

Materials

Paper

Antique 1702 Swedish Baroque Architectural Etchings - Set of 3
Located in Seguin, TX
Set of 3 antique circa 1702 architectural etchings by Johannes van den Aveelen. Includes the Tessin Palace in Stockholm, Swedish Bank and Schellnora estate. From a large series of ...
Category

Swedish Baroque Antique Early 18th Century Wall Decorations

Materials

Paper

Emanuel Sweert - Maria Merian - Daniel Rabel - Copper engraving 4 tulips plate 5
Located in EINDHOVEN, NL
ONE OF THE MOST BEAUTIFUL TULIP ENGRAVINGS EVER PUBLISHED Four Tulips PL.V. (plate 5), copper engraving made by Em(m)anuel Sweert(s) and published by D...
Category

Dutch Other Antique Early 18th Century Wall Decorations

Materials

Paper, Paint, Parchment Paper

Pair of Italian Baroque Green Frames 1700 decorated with Putti and Landscapes
Located in Milan, IT
Pair of Baroque Frames With Putti and Landscape carved in a single basswood board and composed of richly carved foliage and and chasing scrolls and intertwine until culminating at t...
Category

European Baroque Antique Early 18th Century Wall Decorations

Materials

Harewood, Paper

Late 17th-Early 18th Century Pair of French Needlework
Located in Chapel Hill, NC
Late 17th to early 18th century pair of French silk needlework on linen fragments. Featuring magnificent baroque urns spilling rare flowers against vines crowned & encapsulating fleu...
Category

French Baroque Antique Early 18th Century Wall Decorations

Materials

Linen, Silk

Engraving of Torquato Tasso, Prominent Italian Poet of the 16th century, 1724
Located in Langweer, NL
An engraving of Torquato Tasso, a prominent Italian poet of the 16th century, best known for his epic poem "Gerusalemme Liberata" ("Jerusalem Delivered"), which tells the story of th...
Category

Antique Early 18th Century Wall Decorations

Materials

Paper

Antique 1728 James Gibbs Architectural Ornament Engravings - Set of 3
By James Gibbs
Located in Seguin, TX
Set of 3 Architectural ornament engravings from the folio by James Gibbs. Published by Bowyer, London, 1728. Unframed, age toning, edge wear, small edge loss.
Category

English Baroque Antique Early 18th Century Wall Decorations

Materials

Paper

Atlas Lamp Engraving: Strength and Mythology, 1722
Located in Langweer, NL
This engraving from Bernard de Montfaucon's "L'Antiquité expliquée et représentée en figures," presents a neoclassical depiction of a lamp shaped in the figure of Atlas, the Titan of...
Category

Antique Early 18th Century Wall Decorations

Materials

Paper

Ancient Lamps in Art: Montfaucon's 18th-Century Engravings, circa 1722
Located in Langweer, NL
These set of original antique engravings are from Bernard de Montfaucon's "L'Antiquité expliquée et représentée en figures" (Antiquity Explained and Represented in Figures), which is a comprehensive collection of engravings illustrating various aspects of ancient life. This work was a significant contribution to the study of antiquity in the early 18th century. The specific volume these images are taken from likely deals with artifacts such as lamps, which were common in burial practices and other rituals of ancient cultures. This collage features two pages from the 18th-century publication just mentioned, displaying a series of intricately detailed engravings of ancient lamps...
Category

Antique Early 18th Century Wall Decorations

Materials

Paper

EARLY 18th CENTURY PORTRAIT OF A GENTLEMAN
Located in Firenze, FI
Beautiful oil painting on canvas depicting a gentleman belonging to the ancient chivalric order of Saints Maurice and Lazarus, founded in 1572 by the House of Savoy. The protagonist ...
Category

Italian Louis XIV Antique Early 18th Century Wall Decorations

Materials

Canvas, Wood

Original Classical Lamp Engravings: Montfaucon's Collection, Published in 1722
Located in Langweer, NL
These set of original antique engravings are from Bernard de Montfaucon's "L'Antiquité expliquée et représentée en figures" (Antiquity Explained and Represented in Figures), which is a comprehensive collection of engravings illustrating various aspects of ancient life. This work was a significant contribution to the study of antiquity in the early 18th century. The specific volume these images are taken from likely deals with artifacts such as lamps, which were common in burial practices and other rituals of ancient cultures. This collage showcases three pages from Bernard de Montfaucon's seminal work "L'Antiquité expliquée et représentée en figures." Each page features detailed engravings of ancient lamps...
Category

Antique Early 18th Century Wall Decorations

Materials

Paper

ITALIAN SCHOOL "TOBIAS AND THE ARCHANGEL RAFAEL" 18th Century
Located in Madrid, ES
ITALIAN SCHOOL "TOBIAS AND THE ARCHANGEL RAFAEL" 18TH CENTURY Oil on canvas made in the 18th century, It represents the moment in which the archangel Raphael instructs a young Tobit...
Category

Italian Baroque Antique Early 18th Century Wall Decorations

Materials

Paint

Mounted Warrior Lamp: Montfaucon's Antiquities Engraved, 1722
Located in Langweer, NL
The image features an 18th-century engraving from Bernard de Montfaucon's "L'Antiquité expliquée et représentée en figures." It depicts a classical lamp in the form of a mounted ride...
Category

Antique Early 18th Century Wall Decorations

Materials

Paper

Portrait of a lady dated 1713
Located in grand Lancy, CH
Portrait of a lady dated 1713
Category

European Antique Early 18th Century Wall Decorations

Materials

Paint

18th CENTURY PAINTING MADONNA WITH CHILD AND SAINT JOHN
Located in Firenze, FI
Beautiful oil painting on canvas dating back to the Piedmontese school of the early 18th century. The work depicts the Madonna with the Baby Jesus in her arms and next to them is the...
Category

Italian Antique Early 18th Century Wall Decorations

Materials

Canvas, Paint

Moth Metamorphosis Dedicated to Earl of Cardigan, 1724
Located in Langweer, NL
This illustration is from Eleazar Albin's work, as indicated by the signature "E. Albin del.", meaning "drawn by Eleazar Albin". It is a plate from his series on natural history, spe...
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Antique Early 18th Century Wall Decorations

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Paper

Moth Lifecycle and Host Plant, Engraved and Hand-Colored, 1713
Located in Langweer, NL
This image is a botanical illustration by Eleazar Albin, from "A Natural History of English Insects." The dedication at the bottom reads: "To the most Noble Mary Preston Dutchess of...
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Antique Early 18th Century Wall Decorations

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Paper

Vestal reviving the sacred fire, French school, 18th century
Located in PARIS, FR
Young Vestal reviving the sacred fire. Oil on canvas, French school of the 1st half of the 18th c., follower of Jean RAOUX 1677-1734. In ancient Rome, the Vestals or Vestal Virgins w...
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French Louis XV Antique Early 18th Century Wall Decorations

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Canvas

American framed needle work sampler by Seraphina Learned, 1800's
Located in Kenilworth, IL
American sampler of silk floss on linen with a modest zig-zag border framing an uppercase letter alphabet, followed by a cursive alphabet, a lower case alphabet, and the numerals one...
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American Folk Art Antique Early 18th Century Wall Decorations

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Linen, Silk

Engraved Hand-colored Views of Hesselby Castle in Stockholm, Sweden, 1707
Located in Langweer, NL
This print is from "Suecia Antiqua et Hodierna," which is a significant work depicting Sweden during its era as a great power. The collection of engravings...
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Antique Early 18th Century Wall Decorations

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Paper

Baroque Dignity: Tessin Palace in Stockholm Captured by J. van den Aveelen, 1702
Located in Langweer, NL
The engraving provided is a hand-colored work by the artist and engraver, Johannes or Johan van der Aveelen,. He worked on engravings for Erik Dahlbergh’s project, "Suecia Antiqua et Hodierna," which was a grand collection of engravings...
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Antique Early 18th Century Wall Decorations

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Paper

The Bååtska Palatset: A Stockholm Treasure by Dahlbergh, 1707
Located in Langweer, NL
This original antique print depicts an antique hand-colored engraving of the Bååtska Palatset in Stockholm, Sweden, illustrated by Erik Dahlbergh. The Bååtska Palatset is a notable...
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Antique Early 18th Century Wall Decorations

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Paper

Drottningholm Palace in Sweden: East and West Views by Dahlbergh, 1707
Located in Langweer, NL
Title: "Drottningholm Palace: East and West Views by Dahlbergh, 1707" Description: This exquisite antique print from c. 1707, crafted by the renowned Swedish military officer and ca...
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Antique Early 18th Century Wall Decorations

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Paper

Westras: A Jan van Aveelen Engraving from 'Suecia Antiqua et Hodierna', 1701
Located in Langweer, NL
Original antique engraving of 'Westras' or Västerås in Sweden The location referred to in the print is likely "Westras," which seems to be a historic name or variant spelling relate...
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Antique Early 18th Century Wall Decorations

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Paper

Metamorphosis of Surinamese Insects in an Original Hand-Colored Engraving, 1705
Located in Langweer, NL
"Metamorphosis of Surinamese Insects by Merian" This exquisite original engraving is Plate 32 from Maria Sibylla Merian's seminal work, "Metamorphosis Insectorum Surinamensium," pub...
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Antique Early 18th Century Wall Decorations

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Paper

Early 18th-Century Baroque Portrait of a Nobleman
Located in 263-0031, JP
An oil-on-canvas full-scale portrait of a standing man in costume typical of the Baroque era of c. 1720, France. Purchased from a dealer in Geneva, Switzerland. The canvas is in good...
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French Antique Early 18th Century Wall Decorations

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Canvas

Floral carving. Turin, late 18th century
Located in Milano, IT
Carved and gilded wooden console table. It rests on four opposing double-curved supports ending in full-bodied curling volutes held by masks; carved female caryatids rest on the uppe...
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Italian Neoclassical Revival Antique Early 18th Century Wall Decorations

Materials

Wood

Young French Girl Portrait c. 1800 Oil On Canvas
Located in 263-0031, JP
Neoclassicism saturates this droll portrait of a French girl c. 1800: the high-waisted dress, the antique hairstyle "a la Titus” complemented with m...
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French Neoclassical Antique Early 18th Century Wall Decorations

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Canvas

Eternal Echoes Engraved: The Pantheon, Rome's Ancient Marvel, circa 1705
Located in Langweer, NL
The engraving titled "Pantheon nunc vulgo la Rotunda" is attributed to the publishing efforts of Joan Blaeu and was part of a series published around the ea...
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Antique Early 18th Century Wall Decorations

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Paper

Venerable Vespasian's Arena: The Colosseum in its Prime, circa 1705
Located in Langweer, NL
The engraving titled "Amphitheatrum Vespasiani, nunc vulgo Il Coliseo" is an early 18th-century Dutch engraving, originally published by Joan Blaeu and reissued by Pierre Mortier bet...
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Antique Early 18th Century Wall Decorations

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Paper

Neoclassical Grandeur: An Architectural Study from the Early 1700s
Located in Langweer, NL
The engraving depicts a classical façade of a building, designed with a series of evenly spaced windows and arches on the ground floor, and rectangular windows on the upper floor. The architectural style is neoclassical, characterized by its symmetry, balanced proportions, and the use of classical elements such as pilasters and pediments. Atop the structure sits a central pediment supported by columns, flanked by statues. This could represent a public building or a grand palatial structure. The precise lines and attention to detail suggest that it was intended for scholarly study or as a record of architectural design. The labeling at the bottom, if any, could provide information on the building's location or the architect, but it's not visible in the image. The engraving is possible part of a series published around the early 18th century by Joan Blaeu, a renowned Dutch cartographer born in 1599 and who passed away in 1673. His works often featured detailed engravings of notable locations. This particular piece would have been published posthumously, as part of a collection that his heirs continued, which was later reissued by publishers like Pierre Mortier. The exact date of publication for this specific engraving is not provided in the information, but it would be within the timeframe of the early 1700s, given the dates of the reissues mentioned and the info behind the watermark that is visible if you hold the print to the light. The text appears in the paper is a historical note about the Honig family, prominent in the Dutch paper manufacturing industry during the 17th and 18th centuries. Jan Jbz. Honig (1688-1757), the white paper manufacturer from Zaandijk, was the son of paper manufacturer Jacob Cz. Honig(h) (1648-1709). Jan began his independent work in 1738 and continued until 1757. He was the younger brother of Cornelis Jbz. Honig (1683-1755), and together they started the company C & J HONIG in 1709. Following a division of the family business in 1738, Jan took over the mill 'De Vergulde Bijkorf' and also acquired the mill 'De Eendracht'. He was married to Trijntje Claes Caescoper (1689-1763) and operated with his son Jacob Jsz. Honig (1712-1780) under the name J(an) HONIG & ZOON. Around 1741, this firm produced Pro Patria paper featuring the emblem of the Hollandse Tuin as a watermark. By 1764, under the direction of his son Jacob, J. HONIG & ZOON supplied paper to the Amsterdam Chamber of the Dutch East India Company, using watermarks including the Amsterdam coat of arms...
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Antique Early 18th Century Wall Decorations

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Paper

Iceland's Fire and Ice: Rare Engravings of a Volcanic Wonderland, 1820
Located in Langweer, NL
The image is a two-part engraving with the upper section titled "Mount Hecla, with one of its Glaciers," depicting the formidable Mount Hecla in Iceland, an active volcano known for ...
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Antique Early 18th Century Wall Decorations

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Paper

Diverse Avian Species: An early 18th-Century Ornithological Study, 1811
Located in Langweer, NL
The image is an ornithological print from the early 19th century. It depicts various species of birds perched on branches. The birds are illustrated in vibrant colors with a high lev...
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Antique Early 18th Century Wall Decorations

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Paper

Rare Visions of a Dormant Titan: The Ancient Volcano of Owyhee or Hawaii, 1815
Located in Langweer, NL
Title: Truncated Mountain, with the focus of an extinguished volcano in the island of Owyhee. Engraved by Deeble, from a drawing by Craig for the gallery of nature and art Source:...
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Antique Early 18th Century Wall Decorations

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Paper

1811 Ornithology Gallinae Plate IV - Antique Poultry Print
Located in Langweer, NL
Title: "ORNITHOLOGY. Div'n. Land Birds – Order 5 GALLINA. Plate IV" Description: This ornithological print from the early 19th century, Plate IV in its series, showcases birds from ...
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Antique Early 18th Century Wall Decorations

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Paper

1811 Ornithology Piciformes Plate III - Antique Bird Engraving
Located in Langweer, NL
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...
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Antique Early 18th Century Wall Decorations

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Paper

Antique 1811 Ornithology Hand-Colored Print
Located in Langweer, NL
This rare original handcolored print includes detailed illustrations of birds, and there is text at the bottom that serves to identify each bird depicted. Here's the transcribed text...
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Antique Early 18th Century Wall Decorations

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Paper

Rycklof van Goens: Formidable Governor-General of the VOC, Dutch East Indies
Located in Langweer, NL
Rycklof van Goens was a prominent figure in the history of the Dutch East India Company (VOC), Van Goens served as Governor-General in the Dutch East Indies from 1678 to 1681. Here'...
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Antique Early 18th Century Wall Decorations

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Paper

Hendrik Brouwer: Eminent Navigator and Governor-General of the VOC, 1724
Located in Langweer, NL
Hendrik Brouwer was a notable figure in the 17th century, particularly for his role in the Dutch East India Company (VOC) and his contributions to maritime navigation. Here's a summa...
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Antique Early 18th Century Wall Decorations

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Paper

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