Botany
€ 590
One of a kind: this is the sheet in the photographs. Ships from Langweer, the Netherlands.
Light age-related toning and occasional spotting, consistent with early 18th-century paper. Impressions clear; margins intact. Overall very good.
Pair of 18th-Century Garden Engravings – Hellbrunn & Trianon, Baroque Views
This matched pair of early 18th-century garden engravings presents two celebrated princely pleasure gardens of Europe, juxtaposing the formal Baroque landscapes of Salzburg and Versailles. Executed with refined linear engraving and expansive axial perspective, the prints exemplify the ceremonial grandeur and geometric discipline that defined elite garden design in the late 17th and early 18th centuries.
The first engraving, titled Prospect des Hintern Theils des Hochfürstlichen Gartens Hellebrünn, depicts the rear section of the princely gardens of Hellbrunn Palace, near Salzburg. The composition features a long central basin with obelisks and sculptural figures, framed by dense avenues of trees and distant hills beyond. Designed by Matthias Diesel and engraved by Carl Remshard, the view emphasizes controlled perspective, water architecture, and the theatrical integration of landscape and topography. The sheet was published by Jeremias Wolff in Augsburg and forms part of a broader series of garden prospects.
The companion print, Prospect des Königlichen Lustgebäu samt dem Garten Trianon, presents a sweeping bird’s-eye view of the Grand Trianon and its formal gardens within the Palace of Versailles. Built for Louis XIV as a private retreat, the Trianon is shown here as an idealized composition of terraces, parterres, fountains, and colonnaded architecture. The engraving captures the symmetry and scale of French Baroque garden design, reflecting the prestige and refinement associated with the royal estate.
Offered together, these engravings form a visually powerful and intellectually coherent pair: German-Austrian court garden and French royal retreat, landscape depth and architectural breadth. Their comparable format, engraving style, and panoramic scope make them especially suitable for display as a diptych, appealing to interior designers, collectors of architectural prints, and admirers of European garden history.
Condition: Light age-related toning and occasional spotting, consistent with early 18th-century paper. Impressions clear; margins intact. Overall very good.
Framing tips: Best presented as a wide horizontal pair in matching dark walnut or ebonized frames with generous warm ivory mats. Ideal for placement above a sofa, console, or in a library or hallway.
Technique: Copperplate engraving
Maker: After Matthias Diesel; engraved by Carl Remshard; published by Jeremias Wolff, Augsburg, early 18th century
