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

Karnac lithograph after David Roberts.<ul><li>Lithograph by Louis Haghe, after painting by David Roberts.</li><li>London: 1849.</li><li>Hand-colored lithograph on fine paper mounted on card as issued from the subscription edition of Roberts' Egypt.&nbsp;</li></ul> David Roberts' magnificent images of Egypt and the Holy Land rank among the finest topographical views of the 19th century. Roberts made a two-year journey to the Middle East commencing in 1838, and while there, executed numerous watercolors from which the finest were selected for the publication. The lithographs were executed by Louis Haghe. In order to help fund the project, Roberts produced a deluxe subscription edition, from which this lithograph was taken, which is notable for being the only edition to have original hand color, which would have been executed under the direction of the artist.

Karnac

A print featuring a Wedgwood design.<ul><li>Frederick Rathbone (English).</li><li>London: Bernard Quartich, 1898.</li><li>Chromolithograph by W. Griggs from&nbsp;Old Wedgwood: The Decorative or Artistic Ceramic Work, in color and relief, invented and produced by Josiah Wedgwood, at Etruria, in Staffordshire, 1760-1794.</li><li>Plate XXVII.</li><li>This work is presented matted and unframed.</li></ul>

The Water Vase

A print featuring a Wedgwood design.<ul><li>Frederick Rathbone (English).</li><li>London: Bernard Quartich, 1898.</li><li>Chromolithograph by W. Griggs from&nbsp;Old Wedgwood: The Decorative or Artistic Ceramic Work, in color and relief, invented and produced by Josiah Wedgwood, at Etruria, in Staffordshire, 1760-1794.</li><li>Plate XII.</li><li>This work is presented matted and unframed.</li></ul>

A Vase In Grey-Blue Jasper With Reliefs Of The Muses

A print featuring a Wedgwood design.<ul><li>Frederick Rathbone (English).</li><li>London: Bernard Quartich, 1898.</li><li>Chromolithograph by W. Griggs from&nbsp;Old Wedgwood: The Decorative or Artistic Ceramic Work, in color and relief, invented and produced by Josiah Wedgwood, at Etruria, in Staffordshire, 1760-1794.</li><li>Plate XXVI.</li><li>This work is presented matted and unframed.</li></ul>

The Wine Vase

A print featuring a Wedgwood design.<ul><li>Frederick Rathbone (English).</li><li>London: Bernard Quartich, 1898.</li><li>Chromolithograph by W. Griggs from&nbsp;Old Wedgwood: The Decorative or Artistic Ceramic Work, in color and relief, invented and produced by Josiah Wedgwood, at Etruria, in Staffordshire, 1760-1794.</li><li>Plate XXXIX.</li><li>This work is presented matted and unframed.</li></ul>

Crystaline Agate Vase With Four Handles

A print featuring Wedgwood designs.<ul><li>Frederick Rathbone (English).</li><li>London: Bernard Quartich, 1898.</li><li>Chromolithograph by W. Griggs from&nbsp;Old Wedgwood: The Decorative or Artistic Ceramic Work, in color and relief, invented and produced by Josiah Wedgwood, at Etruria, in Staffordshire, 1760-1794.</li><li>Plate XLIV.</li><li>This work is presented matted and unframed.</li></ul>

A Cup And Saucer, Flower Pot, And Teapot

A print featuring a Wedgwood design.<ul><li>Frederick Rathbone (English).</li><li>London: Bernard Quartich, 1898.</li><li>Chromolithograph by W. Griggs from&nbsp;Old Wedgwood: The Decorative or Artistic Ceramic Work, in color and relief, invented and produced by Josiah Wedgwood, at Etruria, in Staffordshire, 1760-1794.</li><li>Plate XXXVII.</li><li>This work is presented matted and unframed.</li></ul>

A Large Jardinière in Jasper

A print featuring Wedgwood designs.<ul><li>Frederick Rathbone (English).</li><li>London: Bernard Quartich, 1898.</li><li>Chromolithograph by W. Griggs from&nbsp;Old Wedgwood: The Decorative or Artistic Ceramic Work, in color and relief, invented and produced by Josiah Wedgwood, at Etruria, in Staffordshire, 1760-1794.</li><li>Plate XLI.</li><li>This work is presented matted and unframed.</li></ul>

Jardinière in White and Two Vases in Blue Jasper

A print featuring Wedgewood designs.<ul><li>Frederick Rathbone (English).</li><li>London: Bernard Quartich, 1898.</li><li>Chromolithograph by W. Griggs from&nbsp;Old Wedgewood: The Decorative or Artistic Ceramic Work, in color and relief, invented and produced by Josiah Wedgewood, at Etruria, in Staffordshire, 1760-1794.</li><li>Plate XXXVIII.</li><li>This work is presented matted and unframed.</li></ul>

Three Vases In Grey-Blue Jasper

A print featuring Wedgwood designs.<ul><li>Frederick Rathbone (English).</li><li>London: Bernard Quartich, 1898.</li><li>Chromolithograph by W. Griggs from Old Wedgwood: The Decorative or Artistic Ceramic Work, in color and relief, invented and produced by Josiah Wedgwood, at Etruria, in Staffordshire, 1760-1794.</li><li>Plate XLV.&nbsp;</li><li>This work is presented matted and unframed.</li></ul>

Green and Tri-Color Jasper Wedgwood Vases

A suite of eighteenth century conversation piece engravings in the rococo style, showing the nobility at leisure, dining and dancing outdoors in a bucolic setting.<ul><li>Sold as a set of 4.</li><li>Each image is set within delicately colored scrolled borders featuring flowers, foliage, leafy tendrils and fruit.</li><li>These prints capture the privilege and lifestyle of the aristocracy and are typical of French decorative art in the early to mid eighteenth century.</li><li>Each is presented in a modern gilt frame.</li></ul>

La Manna Le Matin / El Mediodia Le Midi / Eldespues de Comer L'Apres Diner / Le Soir La Tarde

A group of&nbsp;chromolithographs of water fowl, laid on contemporary card, as published.<ul><li>Sold as a set of 6.</li><li>Alexander Pope Jr. (American, 1849-1924).</li><li>New York: Charles Scribner's Sons,&nbsp;1878.</li><li>Alexander Pope Jr. was an American sculptor and painter. He is known primarily for this series on game birds and a similar one on dogs.</li><li>Each is presented framed.</li></ul>

Water Fowl

The engravings depict a key event following the defeat of Tipu Sultan in 1792. Tipu stands outside his fortress of Seringapatum and sends his two young sons to become British hostages, while the British set out the terms of a punitive peace treaty.<ul><li>Sold as a set of 2.</li><li>After Mather Brown (American, 1761-1831).</li><li>Engraved by Francesco Bartolozzi and Daniel Orme.</li><li>The delivery of the definitive treaty by the hostage princes into the hands of Lord Cornwallis [with] The Key to Mr. Brown’s Prints from the India Subjects.</li><li>London: Walker and Brachenbury, 1793.</li><li>Accompanied by the key plate.</li><li>Presented in handmade gilt frames.</li></ul>&nbsp;Mather Brown (1761-1831), born and raised in Massachusetts, was one of the American artists who made their way to Europe during and immediately after the American Revolution to study painting. In London he formed a partnership with Daniel Orme to publish his work as engravings.

The Delivery of the Definitive Treaty by the Hostage Princes into the Hands of Lord Cornwallis

A mezzotint depicting a contest between the game-cocks of Colonel Mordaunt and the Nawab Wazir of Oudh, Asafud-dauba, who are seen facing each other with outstretched arms.<ul><li>Johann Zoffany (German, 1733-1810).</li><li>Engraved by Richard Earlom.</li><li>Colonel Mordaunt's Cock Match. At Lucknow in the Province of Oude in the Year 1786, at which were present several High and Distinguished Personages.</li><li>London: R. Sayer, No. 53, Fleet Street, 1st May, 1792.</li><li>With the rare index plate.</li><li>This work is presented framed.</li></ul> The court of Lucknow, renowned for many extravagances, was especially celebrated for the sports of hunting and cockfighting, in which the Nawab delighted. Mordaunt was a keen cockfighter and had brought out from England gamecocks which he was confidant would defeat the native-bred cocks (Mary Webster, Johan Zoffany 1733-1810, Exhibition at the National Portrait Gallery, 1976, cat. no. 104). Notable spectators include General Martin, Mr. Wheeler, John Wombwell, Ozias Humphry and Zoffany himself.

Colonel Mordaunt's Cock Match

Engravings depicting the metamorphoses of South American insects and the exotic plants on which they feed, from Dissertatio de Generatione et Metamorphasibus Insectorum Surinamensium.<ul><li>Sold as a set of 4.</li><li>After Maria Sybylla Merian (German, 1647-1717).</li><li>Engravings by J. Mulder, P. Sluyter and D. Stoopendaal.</li><li>The Hague: Gosse, 1719.</li><li>Hand-colored later.</li><li>Each is presented framed.</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 also in botanical illustration" (W.T. Stearn, introduction to The Wondrous Transformation of Caterpillars, 1978).

Flowers, Insects and Fruits

A group of engravings of Todda Panna palms.<ul><li>Sold as a set of 4.</li><li>Hendrik Adriaan van Rheede tot Drakenstein (Dutch).</li><li>Plates drawn by Matteus A. St. Joseph and engraved by B. Stoopendael.</li><li>Amsterdam: Sumptibus viduae Joannis van Someren, haeredum Joannis van Dyck, Henrici &amp; viduae Theodori Boom, 1678-1703.</li><li>Copper engraved double-page plates, from Hortus Indicus Malabaricus.</li><li>These works are presented framed.</li></ul> The Hortus Indicus is the first comprehensive Flora of the East Indies, containing the first illustrations of a great number of tropical and suptropical plants and fruits and one of the first major natural history works to make extensive use of Arabic Botanical nomenclature. “One of the most celebrated of pre-Linnean books...an important contribution to the Botany and Ethnobotany of Southern India” (Blunt and Stearn The Art of Botanical Illustration p. 153). Rheede was the colonial governor of Malabar on the southwest coast of India and, when not occupied with official duties, an enthusiastic botanist and investigator of the Indian sub-tropical flora. Initially he encouraged local people to collect plants for him and employed learned Brahmins to supply information.

Todda Panna Botanical Engravings

Hand-colored mezzotint engravings of aloes in decorative pots by Johann Weinmann.<ul><li>Sold as a set of 12.</li><li>Johann Wilhelm Weinmann (German).</li><li>Amsterdam: Zacharias Romberg, 1736-1748.</li><li>In handmade gold-leaf frames and glazed with glass.</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)

Aloes in Decorative Pots Mezzotints

A group of watercolors of hyacinths by Pieter van Loo.<ul><li>Sold as a set of three prints, framed as one piece.</li><li>Pieter van Loo (Dutch).</li><li>Three bodycolor paintings of double hyacinths, with the names of the varieties lettered at the top, each signed below.</li><li>This work is presented framed.</li></ul> Pieter Van Loo (or Loon), Haarlem 1731-1784, was a noted flower painter who spent the whole of his life in Haarlem. His paintings are sought after and are found in leading institutions such as the Albertina in Vienna, the Fitzwilliam, Cambridge and Oak Spring, Virginia.

Hyacinths

A group of hand-colored engraved plates of hyacinths.<ul><li>Sold as a set of 6.</li><li>Pierre Joseph Buchoz (French).</li><li>Collection coloriée des plus belles variétés de Jacinthes, qu'on monte aux Curieux dans les Jardins des Fleuristes d'Harlem.</li><li>Paris, Pierre Joseph Buchoz, 1781.</li><li>Each is presented framed.</li></ul> 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.

Hand-colored copperplate engraving of three lizards by Friedrich Johann Bertuch.<ul><li>From Bilderbuch fur Kinder (Picture Book for Children), Weimar, 1798.</li><li>Wooden frame under glass.</li></ul>

German Colored Lizard Engraving

A set of hand-colored engravings of various fish.<ul><li>Engravings from Unterhaltungen aus der Naturgeschichte - Fische by Gottlieb Tobias Wilhelm.</li><li>Depicting various species of fish.</li><li>Wooden frame under glass.</li></ul>

German Colored Fish Engravings

Hand-colored engraving by Prideaux John Selby.<ul><li>Depicting the Common Bunting, Yellow Bunting, Reed Bunting, Cirl Bunting and Tawny Bunting</li><li>Giltwood frame.</li></ul>

English Colored Bunting Engraving

A set of framed engravings from The Costume of China.<ul><li>Sold as a set of 4.</li><li>Hand-colored stipple-engraved plates by Dadley after Pu-Qùa of Canton.</li><li>Comprising plates #II "A Watchman," #XXXV "A Balancer," #XLIV "A Serpent-Catcher" and #LIX "A Lame Beggar."</li><li>In wooden frames with information sheets attached to verso.</li></ul>

The Costume of China Colored Engraved Plates

Hand-colored lithographs from&nbsp;The Birds of Australia.<ul><li>Sold as a set of 4.</li><li>John Gould (English, 1804-1881).</li><li>London: For the author, R. &amp; J. Taylor 1848.</li><li>Framed and glazed.</li></ul>&nbsp;John Gould is widely considered as the greatest and most ambitious of all Victorian ornithologists, combining both artistic skill, beauty and anatomical accuracy. Following the tradition of natural history illustrators, such as Barraband and Audubon, Gould enlisted the services of some of the most notable ornithological artists; including Edward Lear, Joseph Wolf and his own wife, Elizabeth, to complete the most outstanding and comprehensive works in the field. A contemporary reviewer said of this work, “Great as is the excellence of Mr Gould’s former publications, there can be no doubt that the present work exceeds them all, both in an artistic and in a scientific point of view... Whether the dignified repose of the eagle, the pert Malurus, the restless parakeet, or the lean and anxious wader, he is equally successful in his efforts.” Indeed, still today, the work is noted as Gould’s most accomplished. In particular, the plates depicting parrots and cockatoos have propelled the work into becoming the most valuable Gould publication. It is also still one of the most comprehensive ornithological works on Australia, an incredible feat considering the continent had only been discovered 70 years previously. As a result of the labors of Gould and his assistants, well over 300 new species were added to the existing list of birds known to inhabit Australasia.

Group of Parrot Lithographs

Hand-colored lithographs from The Birds of Australia.<ul><li>Sold as a set of 4.</li><li>John Gould (English, 1804-1881).</li><li>London: For the author, R. &amp; J. Taylor 1848.</li><li>Framed and glazed.</li></ul>&nbsp;John Gould is widely considered as the greatest and most ambitious of all Victorian ornithologists, combining both artistic skill, beauty and anatomical accuracy. Following the tradition of natural history illustrators, such as Barraband and Audubon, Gould enlisted the services of some of the most notable ornithological artists; including Edward Lear, Joseph Wolf and his own wife, Elizabeth, to complete the most outstanding and comprehensive works in the field. A contemporary reviewer said of this work, “Great as is the excellence of Mr Gould’s former publications, there can be no doubt that the present work exceeds them all, both in an artistic and in a scientific point of view... Whether the dignified repose of the eagle, the pert Malurus, the restless parakeet, or the lean and anxious wader, he is equally successful in his efforts.” Indeed, still today, the work is noted as Gould’s most accomplished. In particular, the plates depicting parrots and cockatoos have propelled the work into becoming the most valuable Gould publication. It is also still one of the most comprehensive ornithological works on Australia, an incredible feat considering the continent had only been discovered 70 years previously. As a result of the labors of Gould and his assistants, well over 300 new species were added to the existing list of birds known to inhabit Australasia.

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

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 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

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>

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Louis Haghe, David Roberts

Frederick Rathbone

Frederick Rathbone

Frederick Rathbone

Frederick Rathbone

Frederick Rathbone

Frederick Rathbone

Frederick Rathbone

Frederick Rathbone

Frederick Rathbone

Alexander Pope Jr.

After Mather Brown

Johann Zoffany, R.A.

After Maria Sibylla Merian

Hendrik Adriaan van Rheede tot Drakenstein

Johann Wilhelm Weinmann

Pieter van Loo

Pierre-Joseph Buc'hoz

Friedrich Johann Bertuch

Gottlieb Tobias Wilhelm

Prideaux John Selby

George Henry Mason

John Gould

John Gould

Robert John Thornton

Chinese School

Chinese School

Chinese School

Gamy Montaut, Ernest Montaut

Spanish School

Gamy Montaut, Ernest Montaut

Gamy Montaut, Ernest Montaut

Gamy Montaut, Ernest Montaut

Chinese School

Cornelius Nozeman, Jan Christian Sepp