Tag: Engravings

Time to break out the champagne and dance in the streets. Prints of the fete celebrating the birth of the Dauphin, the older son of Louis XVI and Marie Antoinette who was born in 1781. The revolution was not far away, but no one knew that watching the fireworks go off.

Vue et Décoration de la façade du feu d’ artifice elevé en la place de Grève, tiré devant leurs Majestés le 21 janvier 1782 à l’occasion de la naissance de Monseigneur le Dauphin. Published ca. 1785 in Paris, France by Laurent Pierre Lachaussée. Collections of the Bibliothèque Historique de la Ville de Paris. Artwork in the public domain due to age. via https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0002261363/v0001.simple.highlight=Feu%20d’artifice.selectedTab=record
Décoration du Feu d’Artifice, Elevé près l’Hôtel de Ville de Paris, à l’occasion de la Naissance de Monseigneur le Dauphin, par les Ordres et sous la Prevôté de Mr. de Caumartin; et l’Artifice exécuté en présence de Leurs Majestés, le Lundi vingt-un Janvier mil sept cent quatre-vingt-deux. 1782. French. Hand-colored engraving. Jerome Robbins Collection, New York Public Library. There is also a copy that isn’t colored in the collections of the Bibliothèque nationale de France
Décoration du Feu d’Artifice, Elevé près l’Hôtel de Ville de Paris, à l’occasion de la Naissance de Monseigneur le Dauphin, par les Ordres et sous la Prevôté de Mr. de Caumartin; et l’Artifice exécuté en présence de Leurs Majestés, le Lundi vingt-un Janvier mil sept cent quatre-vingt-deux. This appears to be the same engraving as the New York Public Library one but it has different colors and is in a French museum so am incuding it. 1782. French. Hand-colored engraving. Collections of the
Musée Carnavalet, Histoire de Paris. Fair use license, artwork itself in the public domain due to age. via https://www.parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/decoration-du-feu-d-artifice-eleve-pres-l-hotel-de-ville-de-paris-a-l-0#infos-principales

In front of City Hall in Paris. This must have been the standard place for these occasions as the births of previous dauphins and their marriages were celebrated here, too.

Imagery from a commemorative publication on the occasion of the May 1873 Vienna World’s Fair that was put out by the Imperial and Royal Austrian Museum and the School of Applied Arts. At least some of the items in these engravings were in the museum’s collections.

Ansicht des Säulenhofes. Signed F. W. Bader on the lower right. Page 9 of Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873. F. W. Bader, Vienna, engraver. J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/9/mode/1up
Venetianischer Caminständer, 1577, aus der Sammlung des Museums. Drawn by Hermann von Riewel. Page 29 of Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873. J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/29/mode/1up
Juvvelcngehänge. Jan Collaert, artist. ca. 1543. Also in the Metropolitan Museum of Art New York with a date of 1581 here https://www.metmuseum.org/art/collection/search/426130. Page 37 of Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873. J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. https://archive.org/details/daskaiserlichkon00unse/page/37/mode/1up
Initial ‘C.’ F. W. Bader and Company, Vienna, engraver. Page 58 of Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873. J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/n58/mode/1up
Spitzenmuster von Matteo Florimi, Siena, Italy, 1593. Figure 20, Page 45 of Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873. J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/45/mode/thumb
Kopfleiste, .Motiv aus der Umrahmung des Diploms für die Mitglieder der Gesell-schaft zur Förderung der Kunstgewerbeschule. Initial Z, Venedig 1568. Engraved after a drawing by Joseph Storck. F. W. Bader and Company, Vienna, engraver. Page 68 of Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873. J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/n68/mode/1up
Kreuz mit Email translucide made by Maso Finiguerra in the 15th century and in the collections of the Imperial and Royal Austrian Museum. Engraving after a drawing by Hermann Kühn. Page 68 of Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873. J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/n78/mode/1up
Schale by A. Hirschvogel (1503-1552). Page 61 Image 85 of Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873. J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/61/mode/1up
Majolika-Schüssel. Italian, 16th century. in the collections of the Imperial and Royal Austrian Museum. Engraving after a photograph taken by I. Angerer. Image 102 of Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873. J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/n102/mode/1up
Spitzenmuster. Lace pattern by Cesare Vecelho. ca. 1606. Image 80 of Das Kaiserlich Königliche österreichische Museum und die Kunstgewerbeschule : Festschrift bei Gelegenheit der Weltausstellung in Wien, Mai 1873. J. C. Fischer and Company, Vienna, Austria, printers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/daskaiserlichkon00unse/page/80/mode/1up

Mexico in 1869. Four albumen photographs of engravings laid down as plates in “Excursión a la Caverna de Cacahuamilpa y ascenso al crater del Popocatepetl.” 

Caverna de Cacahuamilpa; Tramo nombrado Salon de los Monumentos. Eugenio Landesio, pinta. Mexico 1869. Albumen photograph of an engraving laid down as a plate in Excursión a la caverna de Cacahuamilpa y ascenso al crater del Popocatepetl. Image © Swann Auction Galleries. Fair use license. https://catalogue.swanngalleries.com/Lots/auction-lot/-MEXICO–Eugenio-Landesio-Escursion-a-la-caverna-de-Cacahuam?saleno=2687&lotNo=310&refNo=824871
Caverna de Cacahuamilpa; Tramo nombrado Salon de los Organos: Eugenio Landesio, pinta. Mexico 1869. Plate II. Albumen photograph of an engraving laid down as a plate in Excursión a la caverna de Cacahuamilpa y ascenso al crater del Popocatepetl. Biblioteca Nacional de México (Instituto de Investigaciones Bibliográficas, UNAM), Biblioteca Nacional Digital de México y cosechado de Biblioteca y Hemeroteca Nacional Digital de México. In the public domain due to age. https://repositorio.unam.mx/contenidos/escursion-sic-a-la-caverna-de-cacahuamilpa-y-ascension-al-crater-del-popocatepetl-6320?c=BO72Rw&d=false&q=*:*&i=1&v=1&t=search_0&as=0
Popocatepetl. Su Crater visto des el labio S. E. Mirando Hacio N. O. Eugenio Lanedesio Pino Mexico 1869. Plate III Albumen photograph of an engraving laid down as a plate in Excursión a la caverna de Cacahuamilpa y ascenso al crater del Popocatepetl. Biblioteca Nacional de México (Instituto de Investigaciones Bibliográficas, UNAM), Biblioteca Nacional Digital de México y cosechado de Biblioteca y Hemeroteca Nacional Digital de México. In the public domain due to age. https://catalogo.iib.unam.mx/exlibris/aleph/a23_1/apache_media/MJSI4LEPAGF59SAYFL8CV7RYVM8PBN.pdf
El Popocatepetl; Sacado desde el Cerro de Tlamaca. Eugenio Lanedesio Pino Mexico 1869. Plate IV Albumen photograph of an engraving laid down as a plate in Excursión a la caverna de Cacahuamilpa y ascenso al crater del Popocatepetl. Biblioteca Nacional de México (Instituto de Investigaciones Bibliográficas, UNAM), Biblioteca Nacional Digital de México y cosechado de Biblioteca y Hemeroteca Nacional Digital de México. In the public domain due to age. https://catalogo.iib.unam.mx/exlibris/aleph/a23_1/apache_media/MJSI4LEPAGF59SAYFL8CV7RYVM8PBN.pdf

Imagery from “Illuminated ornaments : selected from manuscripts and early printed books, from the sixth to the seventeenth centuries.” Mostly medieval, all lovely and in wonderful colors. Published in 1833 so very early. Drawn and engraved by Henry Shaw with descriptions by Sir Frederick Madden who was Assistant Keeper of manuscripts at the British Museum.

From the British Museum, Cottonian Library Nero D. 4. Drawn and Etched by Henry Shaw; Published in London by William Pickering, Chancery Lane, April 1, 1831. Image 36 from Illuminated ornaments: selected from manuscripts and early printed books, from the sixth to the seventeenth centuries. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/illuminatedornam00shaw/page/n35/mode/1up
From Illuminated Drawings of the 11th Century. In the Possession of William Young Ouley, Esquire, F.S.A. Published in London by William Pickering, Chancery Lane, April 1, 1831. Image 43 from Illuminated ornaments: selected from manuscripts and early printed books, from the sixth to the seventeenth centuries. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/illuminatedornam00shaw/page/n43/mode/1up
Column capitals from a folio volume written on thick vellum, in the mid 12th century, containing the books of Joshua, Judges, Ruth and Kings. From the British Museum, Royal M.S. I, C VII. Published in London by William Pickering, Chancery Lane, June 1, 1832. Image 52 from Illuminated ornaments: selected from manuscripts and early printed books, from the sixth to the seventeenth centuries. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/illuminatedornam00shaw/page/n52/mode/1up
From a Missal in the possession of the Right Honourable Lord Braybrooke. London. Published by W. Pickering, Chancery Lane. Image 87 from Illuminated ornaments: selected from manuscripts and early printed books, from the sixth to the seventeenth centuries. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/illuminatedornam00shaw/page/n87/mode/1up
From a Missal in the possession of the Right Honourable Lord Braybrooke. London. Published by W. Pickering, Chancery Lane. Image 89 from Illuminated ornaments: selected from manuscripts and early printed books, from the sixth to the seventeenth centuries. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/illuminatedornam00shaw/page/n89/mode/1up
Ornaments from a Manuscript formerly in the Vatican executed for Pope Innocent 8th between the years 1454 and 1492. In the Possession of William Young Ouley, Esquire, F.S.A. Published by W. Pickering, Chancery Lane. Image 185 from Illuminated ornaments: selected from manuscripts and early printed books, from the sixth to the seventeenth centuries. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/illuminatedornam00shaw/page/n185/mode/1up
From the Sforziada printed at Milan by Zaratto in 1490. From the Collections of Philp Augustus Hanrott Esquire. Published by W. Pickering, Chancery Lane. Image 203 from Illuminated ornaments: selected from manuscripts and early printed books, from the sixth to the seventeenth centuries. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/illuminatedornam00shaw/page/n203/mode/1up
From a Manuscript in the Ashmolean Museum, Oxford. Published by W. Pickering, Chancery Lane. Image 213 from Illuminated ornaments: selected from manuscripts and early printed books, from the sixth to the seventeenth centuries. Collections of the Getty Research Institute. In the public domain due to age. via https://archive.org/details/illuminatedornam00shaw/page/n213/mode/1up

Visions of the Arctic from back when it was the last frontier. Plates from Bernard O’Reilly’s work “Greenland, the adjacent seas, and the North-west Passage to the Pacific Ocean, illustrated in a voyage to Davis’s strait, during the summer of 1817” with the illustrations made from drawings by the author. Published in 1818 in London by Baldwin, Craddock and Joy. In the collections of the State Library of Alaska and the Library of the Marine Biological Laboratory and Woods Hole Oceanographic Institution.

Seal Hunting. Page 105, p. 80. Engraving after a drawing by Bernard O’Reilly. Collections of the State Library of Alaska. In the public domain due to age. via https://archive.org/details/greenlandadjacen00orei/page/n104/mode/1up
Uskee male and female with their child. Page 112, p. 85. Engraving after a drawing by Bernard O’Reilly. Collections of the State Library of Alaska. In the public domain due to age. via https://archive.org/details/greenlandadjacen00orei/page/n111/mode/1up
Canis Lagopus. (Vulpes lagopus, the Arctic fox). Page 130. Engraving after a drawing by Bernard O’Reilly. Collections of the State Library of Alaska. In the public domain due to age. via https://archive.org/details/greenlandadjacen00orei/page/n130/mode/1up
Ursus maritimus (polar bear). Page 133. Engraving after a drawing by Bernard O’Reilly. Collections of the State Library of Alaska. In the public domain due to age. via https://archive.org/details/greenlandadjacen00orei/page/n133/mode/1up
Larus Maximus. Page 179. Engraving after a drawing by Bernard O’Reilly. Plate from Bernard O’Reilly’s work Greenland, the adjacent seas, and the North-west Passage to the Pacific Ocean, illustrated in a voyage to Davis’s strait, during the summer of 1817. Collections of the Marine Biological Laboratory and Woods Hole Oceanographic Institution Library. In the public domain due to age. https://archive.org/details/greenlandadjacen00orei/page/n179/mode/1up

Plates from John L. Stephens’ “Incidents of travel in Yucatan” Volume I, which was published in New York in 1843 long before there were any tourists and when it was nearly all a jungle where very few visitors had gone. The plates being engravings after drawings by Frederick Catherwood.

"Ornaments of the Casa del Gobernador, Uxmal." Page 170.
“Ornaments of the Casa del Gobernador, Uxmal.” Page 170. Collection of the Smithsonian Libraries. Biodiversity Heritage Library, Digitizing sponsor. In the public domain. via https://archive.org/details/incidentsoftrave11843step/page/170/mode/2up

incidentsoftrave11843step_0488
“Kaba, carved beam of sapote Wood.” Page 456. Collection of the Smithsonian Libraries. Biodiversity Heritage Library, Digitizing sponsor. In the public domain. via https://archive.org/details/incidentsoftrave11843step/page/n455/mode/2up

Monument, Casa del Gobernador, Uxmal. Page 182.
Monument, Casa del Gobernador, Uxmal (detail). Page 182. Collection of the Smithsonian Libraries. Biodiversity Heritage Library, Digitizing sponsor. In the public domain. via https://archive.org/details/incidentsoftrave11843step/page/182/mode/2up

"Eastern Range of building Monjas, Uxmal." Page 338.
“Eastern Range of building Monjas, Uxmal.” Page 338. Collection of the Smithsonian Libraries. Biodiversity Heritage Library, Digitizing sponsor. In the public domain. via https://archive.org/details/incidentsoftrave11843step/page/n338/mode/2up

"Front of Ticul vase" (detail). Page 275.
“Front of Ticul vase” (detail). Page 275. Collection of the Smithsonian Libraries. Biodiversity Heritage Library, Digitizing sponsor. In the public domain. via https://archive.org/details/incidentsoftrave11843step/page/275/mode/2up

Plates from “The Iliad Of Homer Engraved From The Compositions Of Iohn Flaxman RA Sculptor, London” which was published on March 1, 1805. Living from 1755 to 1826, John Flaxman worked as a modeller for Wedgwood early in his career. Collections of the Royal Academy, London. Two of these engraved by William Blake.

"Hector and Ajax Separated by the Heralds."
“Hector and Ajax Separated by the Heralds: Between their Swords their Peaceful Sceptres Heard.” Plate 13. Tommaso Piroli, engraver, after a drawing by John Flaxman. Collection of the Royal Academy, London. Creative Commons license. via https://www.royalacademy.org.uk/art-artists/work-of-art/hector-and-ajax-separated-by-the-heralds

"Thetis calling Briareus to the assistance of Jupiter: Then call'd by Thee, the monster Titan came, Whom God's Briareus' men Aegean Name." Plate 4.
“Thetis calling Briareus to the Assistance of Jupiter: Then call’d by Thee, the monster Titan came, Whom God’s Briareus’ men Aegean Name.” Plate 4. Tommaso Piroli, engraver after a drawing by Thomas Flaxman. Collections of the Royal Academy, London. Creative Commons license. via https://www.royalacademy.org.uk/art-artists/work-of-art/thetis-calling-briareus-to-the-assistance-of-jupiter

Blake, William; Evans, Robert Harding; Flaxman, John; John and Arthur Arch; Longman, Hurst, Rees and Orme; <I>The Iliad of Homer engraved from the Compositions of John Flaxman R.A., sculptor</I>, London 1805; Homer invoking the Muse
“Homer Invoking the Muse: Achilles Wrath to Greece the Direful Spring of Woes Unnumbered, Heavenly Goddess Sing!” Plate 1. William Blake, engraver after John Flaxman. Collections of the Royal Academy, London. Creative Commons license. via https://www.royalacademy.org.uk/art-artists/work-of-art/homer-invoking-the-muse

"Minerva Repressing the Fury of Achilles:
“Minerva Repressing the Fury of Achilles: When Half unsheathed Appeared the Glittering Blade, Minerva swift Descended from Above.” Plate 2. William Blake, engraver after a drawing by John Flaxman. Collections of the Royal Academy, London. Creative Commons license. via https://www.royalacademy.org.uk/art-artists/work-of-art/minerva-repressing-the-fury-of-achilles

Time travel back and visit some of the wonders from the Crystal Palace exposition of 1851. A selection of engraved plates from “John Tallis’s history and description of the Crystal Palace and the exhibition of the world’s industry in 1851.” Collections of the University of Heidelberg.

"Oriental chair, manufactured by Jennens & Bettridge." Page 3b.
“Oriental chair, manufactured by Jennens & Bettridge.” Page 3b. Collections of the University of Heidelberg. In the public domain. via https://digi.ub.uni-heidelberg.de/diglit/tallis1851bd1/0037/image

tallis1851bd1_0197
“Group of Dresden China, exhibited in the Saxony Department.” Page 152c. G. Greatbach, engraver after a daguerreotype. Collections of the University of Heidelberg. In the public domain. via https://digi.ub.uni-heidelberg.de/diglit/tallis1851bd1/0197/image

tallis1851bd1_0041
“Chessmen in Ivory by Staight of Walbrook.” Page 30f. Collections of the University of Heidelberg. In the public domain. via https://digi.ub.uni-heidelberg.de/diglit/tallis1851bd1/0041/image

"Model of an Indian State Barge
“Model of an Indian State Barge exhibited by the Honorable East India Company.” Page 30f. Collections of the University of Heidelberg. In the public domain. via https://digi.ub.uni-heidelberg.de/diglit/tallis1851bd1/0041/image

"Sledge from the Canadian Court" (detail). Page 52b. G. Greatbach, engraver, after a drawing by H. Mason.
“Sledge from the Canadian Court” (detail). Page 52b. G. Greatbach, engraver, after a drawing by H. Mason. Collections of the University of Heidelberg. In the public domain. via https://digi.ub.uni-heidelberg.de/diglit/tallis1851bd1/0072/image

"HRH Albert, Prince of Wales in the character of winter" and "HRH The Princess Royal in the character of summer." 30d.
“HRH Albert, Prince of Wales in the character of winter” and “HRH The Princess Royal in the character of summer.” 30d. Engraved by C. Holl after a daguerreotype of the original by Mary Thornycroft. Collections of the University of Heidelberg. In the public domain. via https://digi.ub.uni-heidelberg.de/diglit/tallis1851bd1/0039/image

"Jewels of the Queen of Spain"
“Jewels of the Queen of Spain” headdress and shoulder knot in diamonds, pearls, rubies and emeralds and bouquet in diamonds, pearls and emeralds, both made by Lemonniere, Paris. Page 80b. G. Greatbach, engraver, after drawings by H. Mason. Collections of the University of Heidelberg. In the public domain. via https://digi.ub.uni-heidelberg.de/diglit/tallis1851bd1/0107/image

"Shield and Arms" by Lepage and Delacour" (sabres) and Gueyton (pistols). Page 64b
“Shield and Arms” by Lepage and Delacour” (sabres) and Gueyton (pistols). Page 64b. E. Silby, engraver after drawings by H. Mason. Collections of the University of Heidelberg. In the public domain. via https://digi.ub.uni-heidelberg.de/diglit/tallis1851bd1/0086/image

Landscapes of a long since gone natural world in the state of New York. From the “The Hudson River Portfolio” which came out in the 1820’s. William Guy Wall, watercolorist.

Hadley's Falls. Number 5. 1821-1822.
Hadley’s Falls. Number 5. 1821-1822. Aquatint printed in color with hand coloring. John Rubens Smith and John Hill, engravers. Collection of the Metropolitan Museum, New York. In the public domain. via https://www.metmuseum.org/art/collection/search/418415

View from Fishkill Looking To West-Point. Number 15. 1825.
View from Fishkill Looking To West-Point. Number 15. 1825. Aquatint printed in color with hand-coloring. John Rubens Smith and John Hill, engravers. Collection of the Metropolitan Museum of Art, New York. In the public domain. via https://www.metmuseum.org/art/collection/search/418425

The Palisades. Number 19. 1823-24.
The Palisades. Number 19. 1823-24. Aquatint printed in color with hand-coloring. John Hill, engraver. Collection of the Metropolitan Museum of Art, New York. In the public domain. via https://www.metmuseum.org/art/collection/search/418428.