Whether you are creating a gallery wall or looking for a special accent piece, our wall décor collection offers a range of works in multiple styles. Choose from engravings, antique plates, woodblock prints and more.

Wall Art

Untitled offset lithograph from 25 Cats name[d] Sam and One Blue Pussy, circa 1954.<ul><li>Andy Warhol (American, 1928–1987).</li><li>On wove paper.</li><li>This work was a test proof which was kept by The Warhol Estate.</li><li>Estate of Andy Warhol and the Warhol Foundation ink stamps on the reverse.</li></ul> 25 cats name[d] Sam, and One Blue Pussy was one of Warhol’s first illustrated bound books. Produced with Seymour Berlin of Record Offset Corporation in New York and written by Charles Lionsby, Warhol illustrated 25 Cats Name[d] Sam, and One Blue Pussy with sixteen drawings of cats, each named Sam, and a seventeenth captioned One Blue Pussy. The blotted line technique used by Warhol effortlessly articulates the fur coats and expressive faces of the animals. Warhol created his bound books to promote his commercial illustrations, sending them out to prospective clients. One such recipient, Diana Vreeland, then fashion editor for Harper’s Bazaar and later Vogue, found her copy of Warhol’s 25 cats name[d] Sam, and One Blue Pussy to be "charming!"

Untitled, from 25 Cats Name[d] Sam and One Blue Pussy

Signed, limited-edition reflection of Weiwei's life and work through the traditional Chinese art of papercutting.<ul><li>Ai Weiwei (Chinese).</li><li>London: TASCHEN, 2019.</li><li>Meticulously cut in large format, colored fine-art paper, Ai Weiwei favored the color red as it is associated with festivities and happiness in the Chinese culture.</li><li>Signed by the artist in pencil recto.</li><li>From an edition of 250 and 24 artist's proofs.</li><li>Framed and glazed.</li></ul> The Zodiac papercut refers to Ai Weiwei’s renowned sculpture Circle of Animals/Zodiac Heads, 2010. The series recreated the twelve traditional Chinese zodiac sculptures that once adorned the Yuanming Yuan fountain clock, an artistic and architectural centerpiece of the imperial gardens outside of Beijing enjoyed by several Qing dynasty rulers in the 18th and 19th centuries.

Zodiac from Papercut Portfolio

Profile Marc Chagall&nbsp;by&nbsp;Manolo Valdés.<ul><li>Manolo Valdés (Spanish, b. 1942).</li><li>Etching, aquatint, drypoint and collage on handmade paper.</li><li>Signed in pencil.</li><li>Numbered from the edition of eight.</li></ul>

Profil (Marc Chagall)

Japanese woodblock triptych from the Meiji period.<ul><li>A vibrant scene depicting a banquet for the opening of the Gakushuin, which was designated as the school for the aristocrats in Tokyo by Toyohara Chikanobu (Japanese, 1838-1912).</li><li>Attended by the Emperor and Empress Meiji, the school was opened in 1877.</li><li>Nishiki-e, ink and color on vertical ôban.</li><li>Publisher Matsushita Heibei, signed Chikanobu hitsu.</li><li>Museum placard on verso.</li><li>Black metal frame glazed with acrylic.</li></ul>

Feast at the Gakushuin (Tokyo Kazoku Gakko; Kakushuin Enkai no Zu) Japanese Meiji Woodblock Triptych

A Japanese woodblock triptych from the Meiji period.<ul><li>A historically significant depiction illustrating the Emperor and Empress Meiji in the imperial carriage on the afternoon of February 11, 1889. The carriage and accompanying procession had just crossed the Niju Bridge toward the parade grounds to celebrate Japan's new Constitution, and this was the first time in Japan's history that the Emperor and Empress were seen riding together in the same coach.</li><li>Nishiki-e, ink and color on vertical ôban by Kojima Shōgetsu 小島勝月 (Japanese, active c. 1870-1904).</li><li>Museum placard on verso.</li><li>Black metal frame glazed with acrylic.</li></ul>

Imperial Phoenix Carriage Leaving the Palace (Nishinomaru tenkyo yori aoyama kampeishiki e hoosha goko no zu) Japanese Meiji Woodblock Triptych

Japanese woodblock print from the Meiji period.<ul><li>Depicting the marriage of the future Taishō emperor Yoshihito to noblewoman Kujō Sadako by artist Watanabe Nobukazu 渡辺延, also known as Yôsai Nobukazu 楊斎延 (Japanese, 1872-1944).</li><li>Nishiki-e, ink and color on vertical ôban.</li><li>Signature at lower left.</li><li>Museum placard on verso.</li><li>Black metal frame glazed with acrylic.</li></ul>

Marriage Ceremony of Crown Prince Yoshihito Japanese Meiji Woodblock Triptych

Framed Japanese woodblock print from the Edo period.<ul><li>Nishiki-e, ink and color on paper portraying kabuki actors from the Edo period by Utagawa Kunisada (Toyokuni III, Japanese 1786-1865).</li><li>Gallery label on verso.</li><li>In giltwood frame under glass.</li></ul>

Japanese Edo Woodblock Diptych of Kabuki Actors

Roses aquatint and mezzotint, printed in color, finished by hand, and heightened with gum arabic from The Temple of Flora.<ul><li>Robert John Thornton (English, 1768–1837).</li><li>Framed and glazed.</li><li>This rare and celebrated plate of The Roses is the only one by Thornton by himself.</li></ul> Robert John Thornton (1786-1837) was a prolific medical author and became a Doctor of Medicine at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the sexual system of...Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle. These botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat&nbsp;the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time.

English Hand-Colored Roses Engraving

The Superb Lily aquatint and mezzotint, printed in color, finished by hand, and heightened with gum arabic from The Temple of Flora.<ul><li>Robert John Thornton (English, 1768–1837).</li><li>Framed and glazed.</li></ul> Robert John Thornton (1786-1837) was a prolific medical author and became a Doctor of Medicine at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the sexual system of Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle. These botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat&nbsp;the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time.

English Hand-Colored Lily Engraving

Large folding map in full original wash color of Colombia Prima or South American drawn by British cartographer Louis Delarochette.<ul><li>Third Edition.</li><li>Dissected and mounted on linen as issued.</li><li>Framed and glazed.</li><li>Published by William Faden, London.</li></ul>

Colombia Prima or South America Map

Hand-colored pochoir print from Ernest and Gamy Montaut.<ul><li>Depicting American Aviator Glenn Curtiss, flying a Curtiss no. 2, as he took first prize in the 1909 Gordon Bennett competition in Reims, France.</li><li>Framed and glazed.</li><li>Published by Mabileau &amp; Co, Paris.</li></ul> Gamy-Montaut prints document various historical events in the early history of transportation, including Power Boat Racing, Motorcycle and Motor Car Racing, Motor Car Touring, Zeppelins and Tennis. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries. Marguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed 'M. Montaut', she also&nbsp;used the name 'Gamy', an anagram for Maggie. The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncolored prints as a template, elaborate stencils were cut for each color. Watercolor was then brushed onto the image through the stencil. The coloring process was quite complex, with each print taking several days to produce. It was also quite labour intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the coloring.

Coupe Gordon Bennett 1909 Curtiss le Gagnant, Gordon Bennett 1909 Cup Winner Pochoir Print

Hand-colored aquatint engraving on Whatman wove paper for the Oriental Scenery collection by Thomas Daniell.<ul><li>Depicting Hindoo Temples at Agouree, on the River Soane, Bahar.</li><li>Colors bright and fresh.</li><li>Framed and glazed,</li><li>Published by London, Robert Bowyer at the Historic Gallery Pall Mall.</li></ul> Thomas Daniell (1749–1840) and his nephew William Daniell (1769–1837) travelled extensively in India between 1786 and 1793. On their return to Britain they produced many paintings, drawings and prints based on the sketches they had made while traveling. The 144 aquatint prints, collectively known as Oriental Scenery, represent the single largest and most impressive project by English artists to depict Indian architecture and landscape.

Hindoo Temples at Agouree on the River Soane Engraving

Hand-colored aquatint engraving on Whatman wove paper for the Oriental Scenery collection by Thomas Daniell.<ul><li>Depicting the Mausoleum of Sultan Chusero, near Allahabad.</li><li>Colors bright and fresh.</li><li>Framed and glazed,</li><li>Published by London, Robert Bowyer at the Historic Gallery Pall Mall.</li></ul> Thomas Daniell (1749–1840) and his nephew William Daniell (1769–1837) traveled extensively in India between 1786 and 1793. On their return to Britain, they produced many paintings, drawings and prints based on the sketches they had made while traveling. The 144 aquatint prints, collectively known as Oriental Scenery, represent the single largest and most impressive project by English artists to depict Indian architecture and landscape.

Mausoleum of Sultan Chusero Engraving

Pencil, watercolor and body color drawing heightened with white on paper and watermarked J. Whatman 1804 and 1805.<ul><li>Well executed and highly atmospheric watercolors capturing the importance of the river for trade in early 19th century China.</li><li>Unusual and very attractive depictions of river life with the river in the foreground with a finely executed drawing of a native boat, the backgrounds showing landscape scenes interspersed with occasional architectural details.</li><li>Framed and glazed.</li></ul> The Pearl River is so named because of the pearl-colored shells that lie at the bottom of the river in the section that flows through the city of Guangzhou. Formerly often known as the Canton River, it is an extensive river system in southern China. The name "Pearl River" is also often used as a catchall for the watersheds of the Xi ("West"), Bei ("North") and Dong ("East") rivers of Guangdong. These rivers are all considered tributaries of the Pearl River because they share a common delta, the Pearl River Delta. Measured from the farthest&nbsp;of the Xi River, the Pearl River system is China's third-longest river, 2,400 kilometers, after the Yangtze River and the Yellow River, and second largest by volume, after the Yangtze.

Chinese Craft on the Pearl River Mixed Media Drawing

Hand-colored pochoir print from Ernest and Gamy Montaut.<ul><li>Depicting the pioneering but ill-fated international race of 1903 from Paris to Madrid, when Gabriel, driving a Mors car, exceeded an average of 100 mph for the first time on the road.</li><li>Framed and glazed.</li><li>Published by Mabileau &amp; Co., Paris.</li></ul> There was strong official resistance to racing on public roads, after this race. Only persistent lobbying by manufacturers eventually led to a reluctant change of heart. They argued such a race offered huge promotional potential for an industry now employing thousands of workers. The race attracted around 300 entrants, of which over 200 actually set off, starting in the gardens of Versailles at 3.:30 am on Sunday, 24th May. Such was the lack of experience in planning such a vast event, staged over a course of 1307 km, that the lack of crowd control and failure to anticipate the amount of blinding dust stirred up led to numerous accidents and injuries, as well as around a dozen fatalities. Following emergency government intervention, both French and Spanish, the race was&nbsp;at Bordeaux. At that stage, Fernand Gabriel was in 3rd place, driving one of the four Mors cars with their powerful 90 hp engines, capable of achieving 140 kph. Ernest Montaut (1878–1909) was an innovative French poster designer whose all-too-short career captured the exhilarating new world of motorized transport, whether in the air, on the water or especially at high speed on the ground. He introduced the stylistic conceits of close horizontal lines and forward-leaning perspective in his vehicles, for instance, to exaggerate the sense of rapid motion. This period from the mid-1890s saw not only the rapid evolution of the motor car, but also the application of the internal combustion engine to boat design, as well as being fundamental in making possible the whole new concept of powered flight. Montaut was joined in this endeavor by his wife, Marguerite (1883–1936), who expanding the range of earlier motoring posters to include aviation. She occasionally signed herself as M. Montaut, but more often as Gamy, an anagram of her familiar name, Magy. Following her husband's untimely death at the age of only 31, Marguerite continued their good work in the same distinctive and highly appealing style. This centered on the bold flat colors of the pochoir printing technique they mastered so well. Outlines and any text were printed lithographically, then corresponding stencils carefully prepared to allow in-filling by hand in watercolor and gouache, employing a number of artists for the purpose, leading to subtle variations in color in each painstaking example, often taking days to complete. It is this combination of factors that gives these highly attractive prints their superlative quality.

Gabriel sur Mors, Gabriel in Mors Pochoir Print

Set of watercolor window designs from the Spanish School in the Gothic style depicting saints and persons of rank, showing the influence of the Arts &amp; Crafts movement.<ul><li>Watercolors on a black background, arched at head.</li><li>Four watercolors with six fully colored panels arranged in one frame.</li><li>Design details above and below the panels, one of these with the date MCMXI.</li><li>Framed and glazed.</li><li>Spanish provenance inferred from some of the named figures, such as Cardinal Casanas, an enthusiast of the Basilica of the Sagrada Família and supporter of Gaudi.</li></ul>

Spanish Stained Glass Window Watercolor

Hand-colored pochoir print from Ernest and Gamy Montaut.<ul><li>Depicts Theophile Schneider's 1912 win at Dieppe Diannt.</li><li>Framed and glazed.</li><li>Published by Mabileau and Company.</li><li>Theophile Schneider, formerly of the Rochet Schneider Company, began building his own cars in 1910; this car, a 2.8 liter four-cylinder model, had an unusual radiator placement on the dashboard.</li></ul> Gamy-Montaut prints document various historical events in the early history of transportation, including power boat racing, motorcycle and motor car racing, motor car touring, zeppelins and tennis. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries. Marguerite Montaut, Ernest's wife, joined him in his work producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed "M. Montaut," she also&nbsp;used the name "Gamy," an anagram for Maggie. The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncolored prints as a template, elaborate stencils were cut for each color. Watercolor was then brushed onto the image through the stencil. The coloring process was quite complex, with each print taking several days to produce. It was also quite labor intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the coloring.

La Voiture Theophile Schneider gagne à Dieppe Dinant, Theophile Schneider's Car Wins at Dieppe Dinant Pochoir Print

Hand-colored pochoir print from Ernest and Gamy Montaut.<ul><li>Depicts airplane numbered Voisin 16 on September 3, 1910, high in flight above a bird's-eye view of river and townscape in the first Bordeaux raid done in six hours.</li><li>Framed and glazed.</li><li>Published by Mabileau and Company.</li></ul> Gamy-Montaut prints document various historical events in the early history of transportation, including power boat racing, motorcycle and motor car racing, motor car touring, zeppelins and tennis. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries. Marguerite Montaut, Ernest's wife, joined him in his work, producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed "M. Montaut," she also&nbsp;used the name "Gamy," an anagram for Maggie. The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncolored prints as a template, elaborate stencils were cut for each color. Watercolor was then brushed onto the image through the stencil. The coloring process was quite complex, with each print taking several days to produce. It was also quite labor intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the coloring.

 Premier Raid Paris Bordeaux, First Paris Bordeaux Raid Pochoir Print

Hand-colored pochoir print by E. Leon DuFour.<ul><li>Depicting the monoplane taking off.</li><li>Published by Mabileau, Paris.</li><li>Framed and glazed.</li><li>Published by Mabileau &amp; Co., Paris.</li></ul>

Red Aeroplane, Red Airplane Pochoir Print

Hand-colored pochoir print from Ernest and Gamy Montaut.<ul><li>Depicts early 20th century French motorized bicycles manufactured by Alcyon.</li><li>Framed and glazed.</li><li>Published by Mabileau &amp; Co., Paris.</li></ul> Gamy-Montaut prints document various historical events in the early history of transportation, including power boat racing, motorcycle and motor car racing, motor car touring, zeppelins and tennis. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries. Marguerite Montaut, Ernest's wife, joined him in his work, producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed "M. Montaut," she also&nbsp;used the name "Gamy," an anagram for Maggie. The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncolored prints as a template, elaborate stencils were cut for each color. Watercolor was then brushed onto the image through the stencil. The coloring process was quite complex, with each print taking several days to produce. It was also quite labor intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the coloring.

Cycles Motos Alcyon, Alcyon Motorbikes Pochoir Print

Hand-colored pochoir print from Ernest and Gamy Montaut.<ul><li>Framed and glazed.</li><li>Published by Mabileau &amp; Co., Paris.</li></ul> Gamy-Montaut prints document various historical events in the early history of transportation, including power boat racing, motorcycle and motor car racing, motor car touring, zeppelins and tennis. Having observed the rapidly growing interest in cars and racing during the early years of motor cars, Ernest Montaut produced his first motoring prints in the mid-1890s, and by 1897, his drawings were pictorial records of the many races in France. Montaut's work was extremely well received in the Paris of his day and was shown in the fashionable shops of the Rue de l'Opera and Rue de la Paix, as well as in the better galleries. Marguerite Montaut, Ernest's wife, joined him in his work, producing not only racing prints but also developing a fine series of aviation prints commemorating such events as the first flights on the early European mail routes. While Marguerite Montaut's works were occasionally signed "M. Montaut," she also&nbsp;used the name "Gamy," an anagram for Maggie. The Gamy-Montaut prints were all produced by the pochoir process in which the outlines for each image were drawn onto lithographic stones and printed. Using these uncolored prints as a template, elaborate stencils were cut for each color. Watercolor was then brushed onto the image through the stencil. The coloring process was quite complex, with each print taking several days to produce. It was also quite labor intensive, and the studio of Gamy-Montaut therefore employed a group of trained artists, including Nevil and Campion, to assist in the coloring.

L'Allumage Moderne, Modern Ignition Pochoir Print

Carnations aquatint and mezzotint printed in color, finished by hand and heightened with gum arabic from The Temple of Flora.<ul><li>Robert John Thornton (English, 1768–1837).</li><li>Framed and glazed.</li></ul> Robert John Thornton was a prolific medical author and became a doctor of medicine at St. Andrew's University and licentiate of the Royal College of Physicians. However, he is best remembered for his great botanical publication The Temple of Flora, which formed a part of the larger work, New Illustration of the Sexual System of Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually became known as The Temple of Flora, comprising 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle These botanical illustrations are unique as they were the first flower prints with&nbsp;backgrounds, depicting the natural habitat of the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his sexual system with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in color, an expensive and uncommon method in England at this time.

English Hand-Colored Carnations Engraving

Watercolor illustrations of butterflies and insects on pith paper.<ul><li>Sold as a set of 12.</li><li>Printed in Canton.</li><li>Framed with a blue silk ribbon border and glazed.</li></ul> Pith seems not to have been adopted for painting until about 1820. Some European museums claim that their paintings on pith come from the end of the eighteenth century, but there do not seem to be any dateable examples that are so early. There is a record of the Kaiser Franz of Austria buying some albums from an English Consul-General Watts in 1826. We know of an Italian count who visited Canton in 1828 and had over 350 paintings on pith in his baggage when he died in Ambon two years later. In the British Library, there is a scrapbook containing six pith paintings and a journal entry by a serving British officer who sent them home from India in 1829. These examples and contemporary accounts by visitors to Canton suggest that there was a flourishing trade in pith paintings by the&nbsp;1830s.

Chinese Export Butterfly and Insect Watercolors

Hand-colored mezzotint engravings of cabbages or brassica from Phytanthoza Iconographia, one of the earliest examples of color printing.<ul><li>Sold as a set of 6.</li><li>Framed in giltwood and glazed.</li><li>Published by Zacharias Romberg, Amsterdam.</li></ul> Weinmann (1683–1741) was a Regensburg apothecary who organized the publication of Phytanthoza Iconographia, a huge florilegum which was not only very beautiful but which also influenced the publication of similar works worldwide. "The mezzotint process used here had been invented by Johann Teyler in the Netherlands around 1688. As practiced here by Bartholomaus Seuter (1678–1754) and Johann Elias Ridinger (1698–1767), it was really a combination of etching and mezzotint, which made possible delicate lines and a very fine grain. The addition of hand-tinting brought about unusual and subtle effects." (Hunt)

Dutch Cabbage Engravings

Engravings by J. Mulder, P. Sluyter and D. Stoopendaal after Maria Sybilla Merian with later hand-coloring of flowers, fruits and insects from Dissertatio de Generatione et Metamorphasibus Insectorum Surinamensium.<ul><li>Sold as a set of 6.</li><li>Superb engravings which depict the metamorphoses of South American insects and the exotic plants on which they feed.</li><li>Framed and glazed.</li><li>Published by The Hague, Gosse.</li></ul> Maria Sybilla, daughter of the German engraver and publisher Matthias Merian, devoted herself to the study of European insects and their metamorphoses. As a result of the wealth of tropical varieties being brought back by the Dutch West Indies Company, she decided to visit the Dutch colony of Surinam herself to study and paint the insect life there. She sailed with her daughter Dorothea on June 1699 from Amsterdam, and remained in Surinam until 1701. Her work, first published in 1705, gave an unprecedented glimpse of the teeming insect life of tropical South America, with gorgeous butterflies flying around luxuriant flowering or fruiting plants and with large many colored caterpillars crawling over the leaves. The plates have earned Maria Merian an honored place in the history of tropical entomology as well as botanical illustration.&nbsp;(Stearn, introduction to The Wondrous Transformation of Caterpillars, 1978)

Dutch Flower, Insect and Fruit Engravings

Large-scale watercolors on paper from the Chinese School.<ul><li>Sold as a set of 2.</li><li>Chinese scenes, possibly Canton or Shanghai, presumably executed for the Western market by an anonymous master and depicting internal and external views of a house.</li><li>Framed and glazed.</li><li>This type of export watercolor is usually found in a much smaller format, due to their delicate nature; it is uncommon to find examples of such size with fresh coloring.</li></ul>

Chinese House Scene Watercolors

Hand-colored engraved plates by Sepp and Sepp the Younger, of birds nests with eggs from Nederlandsche Vogelen.<ul><li>Sold as a set of 4.</li><li>Nidus Ardeae, Nycticoracis; Nidus Platalea, Leucorodia; Nidus Ardeae, Stellaris; and Nidus Pelecani, Carbonis.</li><li>Framed and glazed.</li><li>Published by Jan Christian Sepp, Amsterdam.</li><li>Nozeman's work, which he couldn't finish, became the first comprehensive account of the avifauna of Holland and was the most expensive book for sale in Holland at the time.</li><li>The plates of the book depict all species known in the Netherlands through the time of publication and frequently feature eggs and nests, they were boldly colored by the publisher and still belong to the most famous ornithological representations.</li></ul>

Dutch Bird Nest Engravings

Maps from the most expensive book published in the 17th century, The Atlas Major.<ul><li>Sold as a set of 5.</li><li>Hand-colored double-page engraved maps.</li><li>Centerfold as issued, with cartouches for the titles and dedication.</li><li>Latin text on verso.</li><li>Framed and glazed.</li></ul> A fine set of maps from the most expensive book published in the 17th century, an eleven-volume atlas containing 593 hand-colored maps. The highly decorative borders have allegorical figures of the known planets along the top, lateral borders of the Four Elements and the Four Seasons, and the Seven Wonders of the Ancient World along the bottom. Each of the continents has lateral borders of native dress and nine city prospects along the top. Blaeu's set of the World &amp; Continents are perhaps the most decorative and cartographically accurate of all sets published in the 17th century. Blaeu's work set the standard for other map makers during the Golden Age of Cartography, characterized by fine engraving, high-quality paper and fine geographical detail. His map of the world is one of the earliest maps to utilize the Mercator Projection, which allowed mariners in the open sea to make practical&nbsp;of maps. The map of the world is embellished with allegorical representations of the four seasons and four elements in the side panels, the seven wonders of the ancient world at the bottom and representations of the classical planets, moon and sun at the top. The maps of the four continents are embellished with depictions of the major cities of each continent atop the maps, and a depiction of the costumes of various indigenous people along the side panels.

World and Four Continents Engraved Maps, The Atlas Major

Strong impressions of etchings of grotesque masks after original designs by the Italian artist and engraver Aloisio Giovannoli (1550–1618).<ul><li>Sold as a set of 4.</li><li>Each set with nine plates.</li><li>The publisher claims that the masks were inspired by antiquity, but a more likely source of inspiration is the work of Giulio Romano (Pouncey &amp; Gere, Italian Drawings in the British Museum, Raphael and his circle, London 1962, plates 94, 113) and others, including the French Renaissance artist René Boyvin (ca. 1525–1598).</li><li>Published by Venanzio Monaldini, Rome.</li><li>Published as Serie di Mascheroni Cavati dall'antico che per la prima volta escono in luce intagliati in rame opera utile a professori ed amatori delle belle arti.</li><li>Framed and glazed.</li></ul> Plates are lettered either "Libro P[rimo]" or "Libro S[econdo]" and also numbered, inscribed "C.P." (cum priviligio), some have the artist's name, "Ali Gio." On some plates, this has been partially burnished out. There is no record of any previous issue of the plates, and Monaldini's claim on the title page (not present) that&nbsp;prints here are "per la prima volta escono in luce" makes it probable that these prints are published here for the first time.

Italian Grotesque Mask Etchings

Chinese Export bird and flower scenes painted in ink and gouache on paper with floral cartouches.<ul><li>Sold as a set of 4.</li><li>Uniquely executed on a dark background.</li><li>Framed and glazed.</li></ul>

Chinese Export Bird and Flower Scene Paintings

Hand-colored engraved plates of tulips by naturalist Pierre-Joseph Buc'hoz.<ul><li>Sold as a set of 4.</li><li>In silver-leaf frames with glass.</li></ul> Rare flower plates, the complete volume of forty being part of Le Jardin d'Eden, which was intended as the supplement to the Collection des Fleurs de la Chine &amp; de l'Europe, first published in 1776. The second half of the eighteenth century saw a boom in natural history publications in France fueled by such works as Buffon's Histoire Naturelle. The accession of Louis XVI in 1774 was followed by a relaxation in the regulation of the book trade, making it easier for authors to publish their own works. No other writer was to take such copious advantage of these two developments as Pierre-Joseph Buchoz (1731–1807), a French physician, lawyer and naturalist. His works are characterized by the beauty of the illustrations, and their rarity owing to the small size of the print runs. The final tulip plate is identified as the legendary broken flame-patterned flower "Semper Augustus,"&nbsp;of which were recorded as having reached prices of up to 10,000 guilders at the height of Tulipmania in 1637, although even before this time, bulbs of this particular flower had been valued at 5,500 guilders.

French Tulip Engravings

Hand-colored engraved plates of tulips by naturalist Pierre-Joseph Buc'hoz.<ul><li>Sold as a set of 3.</li><li>In silver-leaf frames with glass.</li></ul> Rare flower plates, the complete volume of forty being part of Le Jardin d'Eden, which was intended as the supplement to the Collection des Fleurs de la Chine &amp; de l'Europe, first published in 1776. The second half of the eighteenth century saw a boom in natural history publications in France, fueled by such works as Buffon's Histoire Naturelle. The accession of Louis XVI in 1774 was followed by a relaxation in the regulation of the book trade, making it easier for authors to publish their own works. No other writer was to take such copious advantage of these two developments as Pierre-Joseph Buchoz (1731–1807), a French physician, lawyer and naturalist. His works are characterized by the beauty of the illustrations, and their rarity owing to the small size of the print runs. The final tulip plate is identified as the legendary broken flame-patterned flower "Semper Augustus,"&nbsp;of which was recorded as having reached prices of up to 10,000 guilders at the height of Tulipmania in 1637, although even before this time, bulbs of this particular flower had been valued at 5,500 guilders.

Stipple-engraved plates of pineapples and plants, printed in color and finished by hand.<ul><li>Sold as a set of 3.</li><li>Created by botanical artist Pierre-Joseph Redouté.</li><li>Framed and glazed.</li><li>Published by Chez L'Auteur, Paris.</li><li>The highest peak of Redouté's artistic and botanical achievement and among the most important monuments of botanical illustration ever to be published.' (Frans A. Stafleu, "Redoute – peintre de fleurs" in A Catalogue of Redouteana).</li></ul> Redouté was at the height of his powers during the publication of Les Liliacees. It is easily the equal in accomplishment of its more popular successor, Les Roses. The work is broader than its title implies, including as it does petaloid monocotyledons in general belonging, for example to Commelinaceae, Bromeliaceae, Liliaceae. At this time, he had as patron and sponsor Josephine Bonaparte, who, on acquiring Malmaison and establishing a superb garden of rare plants there, required an artist of outstanding talent to record them. An "artistic and botanical achievement... Among the most important monuments of botanical illustration ever to be published." (Frans A. Stafleu, "Redoute – peintre de fleurs" in A Catalogue of Redouteana).

Belgian Pineapple Engravings

Hand-colored engraved plates of tulips by naturalist Pierre-Joseph Buc'hoz.<ul><li>Sold as a set of 6.</li><li>In silver-leaf frames with glass.</li></ul> Rare flower plates, the complete volume of forty being part of Le Jardin d'Eden, which was intended as the supplement to the Collection des Fleurs de la Chine &amp; de l'Europe, first published in 1776. The second half of the eighteenth century saw a boom in natural history publications in France, fueled by such works as Buffon's Histoire Naturelle. The accession of Louis XVI in 1774 was followed by a relaxation in the regulation of the book trade, making it easier for authors to publish their own works. No other writer was to take such copious advantage of these two developments as Pierre-Joseph Buchoz (1731–1807), a French physician, lawyer and naturalist. His works are characterized by the beauty of the illustrations, and their rarity owing to the small size of the print runs. The final tulip plate is identified as the legendary broken flame-patterned flower "Semper Augustus,"&nbsp;of which was recorded as having reached prices of up to 10,000 guilders at the height of Tulipmania in 1637, although even before this time, bulbs of this particular flower had been valued at 5,500 guilders.

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Andy Warhol

Ai Weiwei

Manolo Valdés

Chikanobu Toyohara

Kojima Shōgetsu

Watanabe Nobukazu

Toyokuni III Utagawa

Robert John Thornton

Robert John Thornton

Louis Delarochette

Gamy Montaut, Ernest Montaut

Thomas Daniell, R.A.

Thomas Daniell, R.A.

Chinese School

Chinese School

Chinese School

Gamy Montaut, Ernest Montaut

Spanish School

Gamy Montaut, Ernest Montaut

Gamy Montaut, Ernest Montaut

E. Leon DuFour

Gamy Montaut, Ernest Montaut

Gamy Montaut, Ernest Montaut

Robert John Thornton

Johann Wilhelm Weinmann

J. Mulder, P. Sluyter and D. Stoopendaal

Chinese School

Cornelius Nozeman, Jan Christian Sepp

Johannes Blaeu

After Giovannoli Aloisio

Pierre-Joseph Buc'hoz

Pierre-Joseph Buc'hoz

Pierre-Joseph Redouté

Pierre-Joseph Buc'hoz