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Fashionable woman in morning dress with eyeglass on gold chain. Dress of sea-green gros de Naples, corsage with corded bands formed into three divisions, full sleeves with tight wrists, skirt decorated with bows and festoons of ribbon, supporting Italian crepe baskets. Fluted muslin collar. Hair in large curls held by a gold comb. Shaded ribbon reticule bag. Handcoloured copperplate engraving by Thomas Uwins aka Arbiter Elegantiarum from Rudolph Ackermann's Repository of Arts, Strand, London, May, 1826.-stock-foto
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Design for Censer and Incense Holder with Alternative Suggestions, Luigi Righetti, Italian, 1780 - 1819, Pen and black ink, brush and yellow, brown wash, graphite on light blue laid paper, Horizontal rectangle. At left is the censer, whose upper end is at right, the chains curved; the boat is in the center below. Alternative suggestions at right provide for cherubims supporting festoons at the foot of the censer, for cherubim in clouds on top of it, for a shaft in the form of a column, and for lion masks at the body of the boat; the main decorations at left consist of flutes-stock-foto
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Design for Mantelpieceand Adjoining Wall Friezes, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, The right half of the fireplace and the lower right corner of the looking-glass are shown. The frieze is decorated with festoons hanging beside an ovoidal medallion at right, with figures in the center. Brackets supporting the entablature separate the panels. Figures decorate the frieze at the wall. Reliefs for the mantelpiece in the Noble Cabinet, Palazzo Altieri., Rome, Italy, 1789, interiors, Drawing-stock-foto
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Sidewall, Block printed on handmade paper, Arabesque-style Chinoiserie. Alternating motifs in orange and dark green; pergola hung with bells played by man and boy in Chinese costume, surrounded by foliage and supporting floral and fruit festoons; an urn filled with flowers and scrolled acanthus. Printed on deep blue ground. Vertical rectangle of joined sheets of paper., France, 1773–80, Wallcoverings, Sidewall-stock-foto
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Inkstand for the Viceroy Eugène de Beauharnais of Italy, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash, graphite, on off-white laid paper, Intended to be executed in marble and gilt bronze. Below, an oblong pedestal, upon three steps supported by calices. Alternative designs are suggested for the protruding corners of the pedestal. Above these are standing women with cornucopias. The front of the pedestal is decorated like an entablature; in the frieze hang festoons with circular portrait medallions above them. In the center is an oblong pedestal-stock-foto
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Design for the North Portal, Grand Gallery, Villa Albani, Rome, Italy, Carlo Marchionni, Italian, 1702–1786, Pen and brown ink, brush and brown, gray wash, graphite on cream laid paper, The doorway is flanked by two pilasters with dolphins supporting festoons at capitals. An entablature with a frieze and a semi-circular window above it are outlined at the top of the drawing. Above doorway molding is a classical frieze with a scene of sacrifice. Seated griffins appear on either side of the frieze. Above this is a lower entablature surmounted by an eagle.-stock-foto
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Three Designs for Candlesticks, Pen and black ink, brush and gray wash, watercolor, traces of graphite on off-white laid paper, Horizontal rectangle. Three designs for candlesticks, all supported by lion feet. At left, the bottom part of the shaft consists of acanthus scrolls, worked à jour, showing inside a standing escutcheon. A foliated, scalloped and fluted balustrade supporting the bowl with the socket from the top part. At center, the shafts consisting of seated griffins, worked à jour, connected by festoons and flanking a papal escutcheon.-stock-foto
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Candlestick, Pen and brown ink, brush and brown wash, graphite on off-white laid paper, lined, Vertical rectangle. Below is a circular base with three steps. Two sphinxes sit radially carrying a basket with flowers upon their heads from which a candle rises. In the center is a pedestal with a vase. In front of it is below a medallion with a bust portrait, above tow crossed horns which are supported by festoons. Each carries a candle. At the foot of teh vase are two birds supporting festoons. Another stands at the foot of the upper candle which rises from flowers. Framing dark brown stripe-stock-foto
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Two Designs for Candelabra, Francesco Santini, Italian, 1763 - 1840, Brush and watercolor, pen and ink, graphite, varnish on paper, Vertical rectangle. At bottom, a molded panel in the entire width of the sheet, with a plan of the bases, either with a correspondingly colored background. Above in the interval between the bases is a tablet with the scale: Piede di Bologna. The candelabra have Neo-Renaissance forms. The left one is supported by three leaf feet. The base consists of acanthus scrolls, connected below by other scrolls, and a baluster inside. The lower part of the shaft is a vase-stock-foto
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Six capitals of pillars, with alternative suggestions, Filippo Marchionni, Italian, 1732–1805, Pen and black ink, brush and brown, gray wash, traces of graphite on off-white laid paper, 1)Two dolphins, a panel with rinceaux and animal heads; 2) at left, the half figure of an eagle, at right, with head and wings of a satyr; in the center a capital over a vase-like object; 3) with a medallion containing the bust of a bearded man, framed by two half figures of eagles and fastened to their necks by a crown; 4) dragons and rinceaux; 5) with ram’s heads at the corners and in the center-stock-foto
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Design for a door case, Filippo Marchionni, Italian, 1732–1805, Graphite, pen and bistre ink, brush and gray watercolor on paper, Door case with a circular pediment with straight lateral parts. Inside is a console, supporting festoons together with round plates in the frieze above the capitals., Italy, ca. 1740, architecture, Drawing-stock-foto
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Project for an altar, Robert Mylne, Scottish, 1734 – 1811, Pen and ink, brush, sepia, gray watercolor on paper, The mensa stands upon steps, in the interval of two pairs of columns, supporting the entablature and the pediment. Between the columns is a statue. Above the frame of a picture above the mensa is a tablet with an inscription: 'Ex Devotione Accademiae S. Luca.' In the frieze between two festoons: 'HVMILITAS.' Three statues upon the pediment are captioned: 'Speranza,' 'Humilità,' 'Fede.' Written below, in bassi-rilievi: 'sopra le colonne representano la storia della Sacra Scrittura-stock-foto
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Three capitals of pillars, with alternative suggestions, Pen and black ink, brush and brown wash, graphite on off-white laid paper, Above: in the center, the head of a girl, with a bowknot above it, the ends of the ribbon being supported in the manner of festoons by a ram, at left, a dog, at right. center: in the center, above, a head with horns above a bowknot. Springing from it a drapery supported by the half figure of a dragon, at left. A festoon supported by a volute, at right. below: in the center, a woman’s head supporting festoons-stock-foto
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Design for the Embroidery of the Right Top Part of a Man's Waistcoat of the 'Fabrique de St. Ruf', Fabrique de Saint Ruf, Lyon, France, Graphite, brush and gouache on paper, A pierced, rocky base supports a column against which a medallion with the monogram 'VR' leans and from the capital of which a circular blue rubbon hangs, with the inscription: 'IOUIR EST T… (?)'. A rose surrounds the column. Plants grow upon the base. Part of the collar is shown on top. From its bottom edge, pearl chain festoons and a flower garland are suspended. The latter, hanging downwards, surrounds the grotesque-stock-foto
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Three capitals of pillars, with alternative suggestions, Pen and black ink, brush and gray watercolor, graphite on off-white laid paper, Three rows: above: two half figures, at left an owl, at right a dragon and a band motif. Center: in the center is a vase with, at left, a winged animal with two heads, the half figure of an eagle at right supporting a festoon hanging from a rosette, in the center of the cornice. Below: the head of a stag, in the center, and two fantastic birds supporting drapery festoons springing from a ring in the center. On verso: a leaf., Italy, 1780–1800, architecture-stock-foto
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Design for Two Friezes, Piat Joseph Sauvage, French, 1744 - 1818, Pen and ink, brush and sepia washes, Center, framed oblong showing in the center a crowned medallion with a lily plant flanked by dolphins upon which girls are seated supporting festoons together with dancing ones. The bottom frieze depicts girls carrying a garland beside a plant., Netherlands, 1785-1790, Drawing-stock-foto
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Decoration of a Frieze, Filippo Marchionni, Italian, 1732–1805, Black crayon, pen and sepia ink, brush and gray watercolor on laid paper, In the center, two angels are supporting a tiara, behind them are crossed keys. Beside two panels, each to be decorated alike. On top a frieze with rinceaux. Two crossed festoons are supported above by an escutcheon, and at the sides by volutes having on top a cherub. Below is a bunch of leaves and fruits, with a flying bird., Italy, ca. 1770, architecture, Drawing-stock-foto
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Design for a Candlestick, Black chalk, pen and ink, bistre on paper, Three lion feet on a base, support a capital upside down. Birds holding drapery festoons at center supporting a tureen topped with an owl., Italy, late 18th century, metalwork, Drawing-stock-foto
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Design for a Salt or Pepper Cellar, Pietro Belli, Italian, 1780–1828, Pen and ink, graphite on paper, Horizontal rectangle. Design for a salt or pepper cellar. At right is the elevation: below is a base decorated with a wave ornament, with part of a sphere in the center. Four curved legs stand upon it. Above, the legs lead to masks, supporting vine festoons.They are connected by a moulding with a fret band. Above are slopes as handles. Upon the sphere stands a tureen. Its elevation is drawn at left. The lower part of its body is covered by a row of leaves. On top is a figure., Rome, Italy-stock-foto
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Inkstand, Pen and brown ink, brush and gray wash, graphite on off-white laid paper, lined, Design for an inkstand with alternative suggestions. At center, a male nude supports a clock on his shoulders. He stands on a stepped platform at the center of an oval plinth decorated with dancing figures and festoons. At each corner is a square plinth on legs, supporting a sculptural element. At left, a fountain with dolphins and a birdbath. At right, a floral basket with hares., Italy, ca. 1800, metalwork, Drawing-stock-foto
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Elevation of a Candlestick, Pen and ink, brush and sepia wash, graphite on paper, The foot is decorated with beads and festoons. A satyr couple seated on pilaster strips support the socket in which a burning candle sticks. Reverse; horizontally. A caryatid supporting an entablature; plans; scribbling; graphite., France, ca. 1790, lighting, Drawing-stock-foto
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Project for a Painted Oblong Ceiling, Pen and brown ink, brush and green, gray, and brown wash on paper, lined with white heavy textured paper with lithographed frame and geometric lines in pen and black ink over graphite, Depiction of a quarter of a ceiling viewed from below. View into a cupola with a fluted tambour. The dome rests on the octagonal entablature. Its sides are supported by arches through which landscapes can be seen. The panels of the parapet at the sides are decorated with pairs of festoons supporting each other., Italy, 1800–1815, interiors, Drawing-stock-foto
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Drawing, Pen, brush, sepia, blue paper, Project for the decoration, probably, of the upper part of a pilaster. Vertical rectangle. Above: a molding is a tablet with a cherub, supporting the inner ends of two festoons; above: 'B'[eata] 'M'[aria] 'V'[irgo]. Below: an estucheon is suspended from the festoon of ribbon, whose ends are at the sides hanging down. In the center of the estucheon an oval with a figure, above and below a cherub. the latter supporting with his mouth a cord with a bunch. On the back the right part of a sketch, black crayon, see -92., Italy, ca. 1780–90, Drawing-stock-foto
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Decoration of a Panel, Pen and brown ink, brush and brown wash on off-white laid paper, Horizontal rectangle. In the center is a circular frame with a woman wrapped in a coat, so that only the nose and the eyes are unprotected, possibly representing Winter. Above are festoons from which entwined garlands hang. On both sides a paper with an inscription is put upon a slope. The motif at right includes two oil lamps. Below at right is a bird standing upon two chalices, with two griffins sitting below upon a base. At left is a tripod; two legs supporting the bowl of a lamp are visible.-stock-foto
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Project: decoration with escutcheons, (A) of a square, (B) of a horizontally oblong panel, Pen and ink, brush and (A) olive-grey watercolor, or (B) yellow and green watercolors, charcoal, on paper, (A) The escutcheon is a lath and scrollwork frame of a horizontal ovoid. Between beams stand laterally, gaines of women with arm stump. On top sit three boys supporting a cloth with scalloped edges forming the background for the escutcheon. Festoons hang below., (B) Reverse: The scrollwork frame of a landscape is entwined with a lath frame. A cherub is below the landscape.-stock-foto
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Design for the East Portal, Grand Gallery, Villa Albani, Rome, Italy, Carlo Marchionni, Italian, 1702–1786, Pen and brown ink, brush and brown, gray wash, black chalk on cream laid paper, Architectural study of arch topped with pediment. A semicircle is inscribed into an oblong, consisting of mouldings with a trophy of weapons inside. Dolphins lie upon the mouldings in the wedges. Laterally are the capitals of two embedded Corinthian columns supporting the entablature. Above is a stylized pediment with a mask between dolphins. The latter are intertwined with festoons hanging from two eagles-stock-foto
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Catafalque for a king, Carlo Marchionni, Italian, 1702–1786, Graphite, black chalk, brush and gray wash on laid paper, In the shape of an obelisk without point. Three steps lead to a base with candle brackets, the front intended for an inscription. The obelisk is connected with the base by a part with winged skulls supporting festoons. On top, a crown and mace upon a cushion, above a cloth, covering the upper part of the obelisk. In front are a winged woman and a putto supporting a medallion with the image of the king. Upon the steps, at left, a gentleman with a dog, at right a cleric-stock-foto
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Project for a Fountain with Alternative Suggestions, Graphite, brush and bistre, gray watercolor on paper, Elevation of a fountain. In the middle of the basin, is a figure of a reclining water god. Along the central axis, to either side of the figure, are two Doric columns. The left one has an angular pedestal with dolphins at the corners, water pouring from their mouths. The two columns are fluted and covered in two rows of friezes: the lower row is broad, with a carved figural narrative, while the upper row is smaller, and with an inscription 'NON PLVS'.-stock-foto
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Design for a Hot Water Spout, Pen and ink, brush and sepia wash, gray, yellow watercolor, graphite on light brown paper, Vertical rectangle. Design for a hot water spout, attached at a wall, intended to be executed in yellow and white metals.The bowl is decorated with a frieze with festoons, and is connected with the supporting console by a female head with a drapery. Above is a pediment with the dove of the Holy Spirit in clouds, with a glory of rays and four cherubim., Italy and Germany, late 18th century, metalwork, Drawing-stock-foto
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Project for an altar in a side chapel, Pencil, pen, ink, brush and blue water colors on paper, Verticle composition of an altar. The backwall of the chapel is framed by the lower part of the bay of the main nave of the church with two pilasters supporting the entablature. The entrance arc is supported by two shorter columns. There is a eustachian above with a crown in front of two festoons. Groups of pilastars and columns support the entablature of the altar. A window is included in the center with the Dove of the Spirit in front of it., Rome, Italy, 1725–1750, architecture, interiors, Drawing-stock-foto
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Design for a Catafalque for Charles Emanuel III of Sardinia, Carlo Marchionni, Italian, 1702–1786, Pen and brown ink, brush and wash, black chalk on off-white laid paper, mounted, Two winged genii, symbolizing death, sit on pilasters supporting a sarcophagus to Carl Emanuel III. Pedestals on either side support two candle brackets with burning candles and two putti. Above, a broken pediment supports a putto sitting at left and holding a medallion of the King. Two additional putti support the crown. All is adorned with festoons and swags. Below are groups of men-stock-foto
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Two Projects for Painted Grotesque Decorations of a Ceiling, Charcoal, pen and ink, brush and greyish-brown watercolor on laid paper., Horizontal rectangle. At top center are parts of outline of the framing of the central panel. Below are framing mouldings with wave motif at front. The lower corners are connect to the corners of central panel by garlan candelabra with masks at their bases. Below is the center of the rhomboidal panel, at front is a winged, armless half-figure, supporting a vase with leaves on her head. Two birds sit on spring rinceaux below.-stock-foto
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Funeral Decorations for King Louis XVI of France, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, Below is a base, with steps in the main part, and with two putti sitting laterally upon cubes, either supporting a cornucopia with a flame. In the center is a huge pedestal, whose lower rectangular part is decorated with a relief with five figures. The upper part consists of the lower part of a column, with festoons around the shaft. On top is a cushion with the crown lying obliquely upon two crossed objects., Rome, Italy, 1793-stock-foto
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Design for the Decoration of a Panel, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on lined off-white laid paper, Below is a pedestal with crouching sphinxes at its corners. They support with their heads flower pots from which candelabra rise, with winged half-figures on top supporting with their raised hands a garland and festoons. Three women, embracing each other, stand upon the pedestal. The two lateral ones support with their arms the squrae frame of a landscape. Above it is a floral candelabrum with two half figures. Below, at the front of the pedestal-stock-foto
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Three chalices, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, At left: upon a high foot stands an urn with festoons supported by cherubim, supporting a short twisted column. The lower part of the bowl is decorated with a row of leaves with st ems in the invervals. Center: the stem is a baluster with an oval medallion above a row of leaves at the front. The lower part of the bowl is surrounded by a row of cherubim. At right in a smaller scale: the lower part of the stem is an urn supporting a baluster.-stock-foto
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Design for an Organ Loft, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash, graphite on lined off-white laid paper, Situated in a huge niche, with a coffered conch above the entablature. Below are eleven columns in a segment supporting seemingly an entablature with ornamented frieze. Above it rise two similar ones, one somewhat shorter than the other. The central one is decorated with festoons, the upper one indistinctly. Above the central part of the upper one rises what is seemingly a frieze. Upon it stands the pipe case, in shape of a canopy., Rome, Italy-stock-foto
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Console tables, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, Above a left side: the leg is a chimera seen from the front, the upper parts of which are framed by two scrolls supporting a festoon in front of the leg, and another one hanging toward the center of the frieze. Frame and top form an entablature with, in the center, an oval medallion with a figure in front of it. Below hangs a festoon. Below, at right: the support is a lyre and the scrolls of half-figures of sphinxes beside it. Below is a base. Festoons hang from rinceaux-stock-foto
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Design for a Doorcase, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, The door frame consists of moldings, with an entablature and a broken pediment with a central vase. Two children; the left one kneels, the right one upon cornices, recumbent. Outside are pillars, supporting the entablature of the overdoor, below which, in the center, a female head as a console from which festoons spring passing through consoles below the capitals of the pillars, continuing in the direction of the figures of the two children. The wall is colored-stock-foto
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Two chalices, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, At left: the stem is above a bunch of ears of grain rising from an urn, which is decorated with festoons supported by two cherubim. At right: the lower part of the stem has the shape of a vase supporting a pedestal, with cherubim. Above: the bowl has a leaf calyx. On the verso is part of a sketched construction of the shape of a bowl., Rome, Italy, 1780–1790, metalwork, Drawing-stock-foto
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Two chalices, Giuseppe Barberi, Italian, 1746–1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, At left, a variation of 1901-39-1165. 1) The pedestal is decorated with festoons supported by cherubim at the corners. The stem is slimmer, the bowl without the upper motif. At right: the pedestal is angular, with inverse cornucopiae at the edges. In the front is an oval medallion. Above upon the corners sit figures. The stem has the shape of a baluster with a band above the spot with the biggest diameter. Upon it sit two angels supporting an oval medallion.-stock-foto
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