Candelabras

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The architect and engraver Carlo Antonini (1740-1821) created over 200 copper plate engravings of Hellenistic candelabras that have been digitally reproduced and enlarged. The original candleabras were carved from solid marble by the Romans in the 1st and 2nd centuries, many stood 4 to 6 feet tall. By the 18th century, some of the surviving examples had made their way into the museums of Rome, including the Vatican’s Museo Pio-Clementino and it’s Gallery of the Candelabra; established by Pope Pius VI between 1785-1788. Antonini published his folio Manuale di vari ornamenti contenente la serie dei candelabri antichi in Rome in 1790.

Still Lifes

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These beautiful and quaint reproductions are after lithographs from the publication Gatherings from the Orchard published by Paul Jerrard in London circa 1850. Jerrard lithographed and hand colored the originals that are a magnificent example of Victorian colour publishing in the 19th century. Jerrard was best known as a publisher of an elegant suite of table books advertised as "most appropriate for marriage, birthday, and festive presents" that included works mainly on exotic birds, flowers and historical scenes. The style and success of his artistic works and publications is thought to have been an influence on the burgeoning American printmaking firm of Currier and Ives.

Raphael Frescos

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These reproductions are from 18th century hand-colored copper engravings that were the first made of the great frescos painted by Rafaello Sanzio d' Urbino or "Raphael" in the Vatican Loggia in 1517. The publication of the engravings began as a collaboration between painters Gaeiano Savorelli and Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato culminating in the publication of Delle Logge di Rafaele nel Vaticano. The classical motifs used in the frescos, such as arabesques and grotesques, were freely based on the decorations in Nero's Domus Aurea (Golden House) which was excavated in Rome about 1480. The fresco paintings and, later, the wider circulation of the original engravings contributed to the revival of these motifs in the neoclassical era.

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