FREDERIC III. ELECTEUR DE BRANDEBOURG
MARIETTE JEAN (1660-1742)Proof published in Paris by Mariette. Margin nets, two short tear at the top, one of which reaches the framing line...
L'ADORATION DES ROIS MAGES
ANONYMESuperb event with net margins, we distinguish Bethlehem left and probably the castle Saint Ange. This unusual print is included in the BNF catalog on: First Italian engravings (396.A)Reference : Bartsch, T.XIII.39.I ; Hind I.284.16 at the adress of Antonio Salamanca..
ORNEMENT AVEC UNE FRISE D'HOMME A MI-CORPS ENTOURE PAR DEUX GENIES
BEHAM HANS SEBALD (1500-1550 )Old copy in counterpart of Beham's version (cf. Bartsch: 86).Collection mark on the back of LEROY KIRWIN BURKET (1920-Akron 2003), artist and collector (Lugt: 3389)...
MARS
BEHAM HANS SEBALD (1500-1550 )From the following: Seven planets with the zodiacs (B.: 113 to 120) State IV / IV with recovery on the top of the thighs. Beautiful print cut to the limit of copper. Bartsch: 118..
DEUX DRYADES OU FEMMES TRANSFORMEES EN ARBRES ( MYRRHA ET DAPHNE ? )
DELLA BELLA STEFANO (1610-1664)Cartridge n ° 6 in the following: New inventions of cartridges 1647 De Vesme: 1020 Good impression, proof cut to the limit of copper...
MARCHE D UN CHAR AYANT LA FORME D UN VAISSEAU
DELLA BELLA STEFANO (1610-1664)From the following: Combattimento e balletto a cavallo (Carrousel represented in Florence De Vesme 65 to 68) Nice proof De Vesme: 66..
CARTOUCHE AVEC UN ECUSSON BLANC
DELLA BELLA STEFANO (1610-1664)Plate n ° 5 from the following: Raccolta Di Varii Cappriccii Et Nove Inventtioni Di Cartele Et Ornamenti (DV: 1027 to 1044) State I / III before the order number De Vesme: 1031 Proof cut to the limit or slightly to the inside copper, three brown spots on the back in the upper border...
AUTRE FUITE EN EGYPTE
DELLA BELLA STEFANO (1610-1664)State III/IVProof before the removal of the excudit and privilege.De Vesme: 12Cut at the copper limit, inscription in brown ink at the top left, on the back thinning of the paper at three of the angles...
PORTRAIT D ISRAEL SILVESTRE
EDELINCK GERARD (1640 - 1707)Portrait of Israel Silvestre, designer of the king's cabinet, after Charles Lebrun. State III / III with the view of Paris engraved by Israel. Very beautiful finely lined print, cut to the limit of copper.R.Dumesnil : 319..
LA FACTORIA
CALLOT JACQUES (1592-1635)From the set : Caprices, second version engraved in NancyBeautiful print cut to the limit of copperLieure : 433 Etat I/II..
PREMIER COMBAT NAVAL
CALLOT JACQUES (1592-1635)State I/II before the inscriptions in the margin.From the suite: The life of Ferdinando I de Medici (Lieure : 147 to 162)Engraved and printed by Callot in Florence in the office workshop which had been allocated to him.Ca.1619-1620Watermark n°3: at the three rocksGood proof with short margins.Lieure: 157..
MELLIFERIS INFESTI APIBUS
GALLE CORNELIS (1576-1650)Print after Jan van der Straet (aka Stradanus), from the following: Venationes, Ferarum, Avium ..., ca.1595 Proof with good margins..
DANSEUSE EN COSTUME DE FANTAISIE
LEPAUTRE JACQUES (ca.1653 – 1684)Superb proof of the first state with beautiful marginsReference: I.F.F n° 32 State I/III..
PATER NOSTER
WIERIX HIERONYMUS (1553–1619)Pater Noster qui es in coelis sanctificetur nomen tuum, burin with short margins after HeemskerckNagler : 167..
BARQUEROLE DE VENISE JOUANT DU FIFRE ET DU TAMBOURIN A L'OPERA
BONNART NICOLAS (1637?-1718)Proof in beautiful antique color with heightened gold and silver, consolidated tears in the upper and lower margins not affecting the subject, slightly yellowed paper.Reference : Le Blanc n° 182..
L'EMPEREUR COMMODUS EN HERCULE OU HERCULE COMMODE
BOS JACOB (1549-1580)Proof executed in 1550 and edited by Antonio Lafreri (1512-1577), near Bernstein filigree: cote 46853 (between 1567 and 1600) Very nice impression Hollstein: 16..
LA FRESQUE DE LA BATAILLE DU PONT MILVIUS
DENTE DA RAVENNA MARCO ( 1486/1500-1527 )Also say: Battle scene in a landscape with men on horseback, several others on the ground and a group of horsemen in the background.From a drawing by Raphaël.The fresco was produced and painted by Giulio Romano for Constantine's room in the Vatican.To Carlo Losi's address.Late 17th century print.Bartsch : 420Copper cut proof...
DIEU ORDONNANT A NOE DE BÂTIR L'ARCHE
DENTE DA RAVENNA MARCO ( 1486/1500-1527 )According to Marc-Antoine Raimondi, after a drawing by Raphaël Reference: Bartsch No. 3.ANice proof..
LE MARTYRE DE SAINT SEBASTIEN OU LE ROI MORT PERCE DE FLECHES
ZASINGER MATTHAUS (c.1477-1533)Intituled " The martyr of Saint Sebastian" it coul be an episode taken from the "Gesta Romanorum" (The Acts of the Romans) where the print illustrates the episode of the dead king pierced by the arrows of his sons. Filigree "Eagle with one head" (near Briquet 183 or 191) Collector's mark on the back "CD", known by Lugt but not yet indexed, for Carl Drandt (born in Darmstadt in 1842)Very nice impression Reference: Bartsch: 4 (Master MZ)..
OISEAUX, PLANCHE III
LE ROY HENRY (1579-1651)Plate from a set of six at the adress of Herman Weyen ( 1643 et 1680 ) engraver and editor in Paris.these patterns are elements of an engraved set by par Nicolaes de Bruyn ( Volatilium Varii Generis)Good proof, some creases and stains mainly in large margins. Guilmard: p.38 and Berlin K.O.S : 4380..
PSYCHE AUPRES DE L'AMOUR
DADDI BERNARDO (ca. 1512-1570)Print from the set : La Fable de Psyché afterRaphaël Copy in the same direction after Daddi ( cf .Bartsch XV.223.69 )..
La victoire de Scipion sur Syphax
DADDI BERNARDO (ca. 1512-1570)Very nice proof with a net of margins carrying a filigree with lilyReference : Bartsch : 73..
FRISE A L'ENFANT TERRASSE PAR UN BOUC
DADDI BERNARDO (ca. 1512-1570)Very nice print of this burin after Raphaël. 1532. Proof cut at the copper limitBartsch : 29..
LE PERE DE PSYCHE CONSULTANT L'ORACLE
DADDI BERNARDO (ca. 1512-1570)Print from the set : La Fable de Psyché afterRaphaël Copy in the same direction after Daddi ( cf .Bartsch XV.223.69 )..
SATYRE DEVANT UNE STATUE DE PRIAPE ET PAN ASSIS A COTE D' UN VASE
CASTIGLIONE GIOVANNI BENEDETTO (1609-1664)Satyr in front of a statue of Priapus (B.illust.017) Proof with net of margins, thinning of the paper in the border and the lower right corner. State II / III before the retouch in the sky but after modification on the statue and with the letter. Collector's mark in pen on the back: BE? unidentified. Pan seated beside a vase (B.illust.018) Proof with net of margins. Bartsch illustré : 017-018..
THETIS ET CHIRON
PENCZ GEORG (CA.1500-1550)Nice proof, margins, some scattered rednessesBartsch : 90, Hollstein : 119..
ENSEVELIR LES MORTS
PENCZ GEORG (CA.1500-1550)Print from the set : Seven works of mercy.Proof cut at the edge of the subject, slight thinning of the paper on the back...
MASCARON 17
GHISI ADAMO (1530–1585)Nice proof from the set : Mascarons after Giulio Romano (B.108-127), stain in the left outer border.Early 17th century print.Bartsch : 124..
MASCARON 8
GHISI ADAMO (1530–1585)Nice proof from the set : Mascarons after Giulio Romano (B.108-127), slight thinning in large margins, proof early seventeenthBartsch : 115..
MASCARON 7
GHISI ADAMO (1530–1585)Nice proof from the set : Mascarons after Giulio Romano (B.108-127), stain in the left outer borderEarly 17th century printBartsch : 114..
BACCHANALE
BREBIETTE PIERRE ( 1598- Ca 1650 )Plate of a series of: Bacchanalia and sacrifices offered by satyrs (IFF: 144 to 155) Nice proof margins nets Reference: Inventory of the French Fund n ° 149..
BACCHANALE
BREBIETTE PIERRE ( 1598- Ca 1650 )Plate of a series of: Bacchanalia and sacrifices offered by satyrs (IFF: 144 to 155) Nice proof margins nets Reference: Inventory of the French Fund n ° 151..
BACCHANALE
BREBIETTE PIERRE ( 1598- Ca 1650 )Plate of a series of: Bacchanalia and sacrifices offered by satyrs (IFF: 144 to 155) Nice proof margins nets Reference: Inventory of the French Fund n ° 150..
BACCHANALE
BREBIETTE PIERRE ( 1598- Ca 1650 )Plate of a series of: Bacchanalia and sacrifices offered by satyrs (IFF: 144 to 155) Proof slightly cut inside or at the limit of copper, the upper corners redone.Reference: Inventory of the French Fund n ° 147..
BACCHANALE
BREBIETTE PIERRE ( 1598- Ca 1650 )Plate of a series of: Bacchanalia and sacrifices offered by satyrs (IFF: 144 to 155) Nice impression slightly cut inside the copper.Reference: Inventory of the French Fund n ° 146..
DAVID DECHIRANT SES VETEMENTS A L'ANNONCE DE LA MORT DE SON FILS
ALDEGREVER HEINRICH ( 1502-1558 )From the continuation of: The History of Amnon and Tamar (B: 22 to 28) State II / II Bartsch: 28 Proof with small margins, tiny tear in the right margin not reaching the subject. Remains of old assembly with three angles on the back. Unidentified (collector's brand ?) mark on the back, letter v in a red circle...
LE BON SAMARITAIN
ANONYME XVIèAfter Aldegrever: the story of the good Samaritan (cf. Bartsch: 40 to 43)Stamp on the back of the L.K.B collection(Leroy Kirwin Burket (1920-2003) artist, teacher of fine arts in the United States, great collector of old masters)..
LE GOUT
ANONYME XVIèAfter Saenredam. From a set of : Cinq senses Proof cut with a square line or slightly inside, restoration in the upper left corner...
ALEXANDRE RECEVANT LA REINE DES AMAZONES, THALESTRIS
ANONYME XVIèBy the monogramist FG after Primaticcio. Print from 1773 published by Carlo Losi, merchant and publisher active in Rome between 1757 and 1790.Print cut at subject line, median fold along left border..
PAYSAGE ET RUINES
ANONYME XVIèFrom the continuation : Ruinarum varii prospectus, ruriumque aliquot delineationes. Beautiful print, scattered foxing, cut at the limit of the subject on three sides, slight thinning of the paper on the back. Ca.1581-1600 Hendrick van Cleve or Cliven III, son and disciple of William van Cleve, settled in Italy in the middle of the 16th century; around 1587 he returned to Antwerp and collaborated with Philip Galle...
IONICA ODOR
HONDIUS HENDRICK ( 1573-1650 )Ionic Order or Smell.Plate after Jan (or Hans) Vredeman de Vries (1526-circa 1609) from the following: "The Five rows of architecture, to know: Tuscan, Doric, Ionic, Corinthian, and composed, with basic instruction, made by Henricus Hondius. Amstredam [sic], Jean Jeansson ".Vredeman de Vries (1526-circa 1609) Flemish painter, occupied an essential place in Flemish architecture of the Renaissance, in particular for his ideas and theories on the perspective which he disseminated through his publications.Each of the orders is enriched with an allegory of one of the five senses.Between 1617 and 1620Hollstein: 161 Good proof, short tear in the left margin, tiny points of freckles mainly visible on the back, usual median fold of tab...
ANGELIQUE ET MEDOR
GHISI GIORGIO (1512/1520–1582)Beautiful subject illustrating the loves of Angelique and Medor taken from the Orlando furioso (or Roland furious) epic poem in Italian composed by Ludovico Ariosto, called "Ariosto", at the beginning of the 16th century, composed of 46 songs in ottava rima , counting 38,736 vers.After Teodoro Ghisi, 17th century print by Giacomo Rossi.Reference: Bartsch n ° 410Remains of a strip of old mounting on the back..
SAINT PIERRE
DE PASSE CRISPIJN ( 1564 ? - 1637 )Print from the set : Christ and the Apostles (H. 240 to 253) 1594 Reference: Hollstein n ° 241Good impression cut to the limit of copper and mounted on a page of an old album...
SAINT MATHIEU
DE PASSE CRISPIJN ( 1564 ? - 1637 )Print from the set : Christ and the Apostles (H. 240 to 253) 1594 Reference: Hollstein n ° 247Good impression cut to the limit of copper and mounted on a page of an old album...
SAINT THOMAS
DE PASSE CRISPIJN ( 1564 ? - 1637 )Print from the set : Christ and the Apostles (H. 240 to 253) 1594 Reference: Hollstein n ° 248Good impression cut to the limit of copper and mounted on a page of an old album...
SAINT JACQUES LE MINEUR
DE PASSE CRISPIJN ( 1564 ? - 1637 )Print from the set : Christ and the Apostles (H. 240 to 253) 1594 Reference: Hollstein n ° 249 Good impression cut to the limit of copper and mounted on a page of an old album...
SAINT JUDAS
DE PASSE CRISPIJN ( 1564 ? - 1637 )Print from the set : Christ and the Apostles (H. 240 to 253) 1594 Reference: Hollstein n ° 252Good impression cut to the limit of copper and mounted on a page of an old album...
LES MUSES
DE PASSE CRISPIJN ( 1564 ? - 1637 )Complete set in 9 plates :Clio: history (H.403)Thalie: comedy (H.404)Melpomene: tragedy and song (H.405)Calliope: epic poetry (H.406)Terpsichore: dance (H.407)Euterpe: music (H.408)Erato: lyric and erotic poetry (H.409)Polymnia: rhetoric, eloquence (H.410)Urania: astronomy (H.411)Planks cut at the edge of the border and reassembled in the past on laid paperHollstein n°403-411Dimensions of each print: Subject: diameter 130 mm Sheet: 190 x 145 mm..
LA PARABOLE DU BON SAMARITAIN
VOLCKERTSZ COORNHERT DIRCK (1522-1590)After Maarten van Heemskerck Proof cut with a square line, two printing folds, tiny consolidated tear in the right border. Hollstein: 105 to 108..
HISTOIRE DE JACOB
VOLCKERTSZ COORNHERT DIRCK (1522-1590)Test with fillets of margins, small coloring on one of the sheep of the flock..
JUILLET
DELAUNE ETIENNE ( 1519-1583 )Print from the set : Twelve months Reference: Robert-Dumesnil n°191; IFF 16th century n ° 194Proof cut inside copper, formerly mounted on a large sheet of laid paper ( 235x310 mm) probably from an album..
NOVEMBRE
DELAUNE ETIENNE ( 1519-1583 )Print from the set : Twelve months Reference: Robert-Dumesnil n°195; IFF 16th century n ° 198Proof cut inside copper, formerly mounted on a large sheet of laid paper ( 235x310 mm) probably from an album..
L'HOMME AU DRAPEAU
VENEZIANO AGOSTINO ( 1490- CA.1540 )Print which would be engraved after the version of RaimondiBartsch: 482Proof cut on three sides at the copper limit and at 8 mm in the subject at the top...
LA DESCENTE DE CROIX
HOPFER LAMBRECHT ( CA. 1500 – CA. 1535 )Proof after the Little Passion by Durer, from the XVIIth century with the numbers of the merchant Funck.Lined proof, cut to the limit of copper.Bartsch : 13..
BLASONS
HOPFER HIERONYMUS (1500?-1563?)XVIIth edition with the number of the merchant Funck.Bartsch: 76Cut to the limit of copper...
COSTUMES POUR LES FETES DONNEES PAR LE DUC FRIEDRICH DE WURTEMBERG
KUCHLER BALTHASAR ( 1571-1641 )Plate from: Repraesentatio Der Fürstlichen Auffzug und Ritterspil [...]. Schwäbischn Gmund, Küchler, s.d. [1611]Book immortalizing the celebrations which took place in Stuttgart in 1609 for the princely weddings of Johann Friedrich, Duke of Württemberg, and Barbara Sophie, Margravine of Brandenburg, composed of illustrations entirely engraved on copper by Balthasar Küchler (circa 1571-1641), painter from Silesia who made his career in Schwäbisch Gmund in Germany.Hollstein : 1-239Proof cut at the edge of the copper, formerly lined, a few scattered spots, old handwritten annotation in brown ink in the lower part...
SATURNE
MAITRE I.B ( ACTIF CA.1520-1530 )Proof cut to the limit of copper, laminated on paper.The monogrammist IB was a German engraver active in Nuremberg around 1520-1530Bartsch: 11..
LA CENE
SADELER JOHANNES ( 1550-1600 )Print from the set : The Passion (Hollstein 207 to 220) after Marcus Geerarts.Reference: Hollstein n ° 208Beautiful impression cut at the edge of the subject and reassembled formerly..
LA LAMENTATION
SADELER JOHANNES ( 1550-1600 )Print from the set : The Passion (Hollstein 207 to 220) after Marcus Geerarts.Reference: Hollstein n ° 218Beautiful impression cut at the edge of the subject and reassembled formerly..
LA TRAHISON DE JUDAS
SADELER JOHANNES ( 1550-1600 )Print from the set : The Passion (Hollstein 207 to 220) after Marcus Geerarts.Reference: Hollstein n ° 210Beautiful impression cut at the edge of the subject and reassembled formerly..
L'HUMANITE EN ATTENTE DU JUGEMENT DERNIER
SADELER JOHANNES ( 1550-1600 )After D. Barendsz.Proof with a margin net and marked in the lower right corner with a number in brown ink.Hollstein: 265The key to reading this print is found in the Bible verses at the bottom: "Ita erit et adventus filii hominis", referring to chapter 24 of the Gospel of Matthew: "38- In those days, before the deluge, we ate and we drank, we took a wife and we took a husband, until the day when Noah entered the ark; 39- people did not suspect anything, until the deluge that brought them all swallowed up: such will also be the coming of the Son of man. "..
ORNEMENT, FLEURS ET LIBELLULE
SADELER JOHANNES ( 1550-1600 )Plate from a series of ornaments of flowers, insects and various animals. Edited by Sadeler. Beautiful print, two small galleries of restored verses in the margins...
MERIDIES
SADELER JOHANNES ( 1550-1600 )from the rest of the four hours of the day (Hollstein: 509 to 512) after Dirck BarendszSlightly yellowed ProofHollstein : 510..
CHRIST AUX OUTRAGES
SADELER JOHANNES ( 1550-1600 )Print from the set : The Passion (Hollstein 207 to 220) after Marcus Geerarts.Reference: Hollstein n ° 216Beautiful impression cut at the edge of the subject and reassembled formerly..
RHETORICA
SADELER JOHANNES ( 1550-1600 )Print after M.de Vos, from the suite of: Liberal Arts (Hollstein: 545 to 552)Cut to the limit of the square line.Hollstein: 548..
LA MORT ET LE MAITRE DE CHAPELLE
MERIAN MATTHAUS(1593-1650)Plate from the famous: Dance of the dead as it is portrayed in the laudable and famous city of Basle to serve as a mirror of human nature (...) Basle, Jean Rod (Between 1744 and 1789). This work included 43 figures on copper after Mérian. Each board was accompanied by a dialogue between death and the person concerned Pope, Emperor, King, Queen, Count, Magistrate, Merchant, Lame, Hermit, etc...
HERCULE ET IOLAUS TUANT L'HYDRE DE LERNE
CARAGLIO GIOVANNI GIACOMO ( 1500/1505-1565 )Plate from a set of six (Bartsch 44 to 49) after Rosso Fiorentino.XVIIth edition.Print cut at the copper limit...
DIVERS COSTUMES FEMININS DE L'EUROPE DE L'EST
DE BRUYN ABRAHAM (1540?-1587)Plate executed for the work: Omnium pene Europae, Asiae, Aphricae atque Americae gentium habitus (Clothes of various nations of Europe, Asia, Africa and America), published between 1577 and 1610Reference : Hollstein n° 248 à 306Nice proof..
DIVERS COSTUMES DE L'ALLEMAGNE
DE BRUYN ABRAHAM (1540?-1587)Plate executed for the work: Omnium pene Europae, Asiae, Aphricae atque Americae gentium habitus (Clothes of various nations of Europe, Asia, Africa and America), published between 1577 and 1610Nice proof with margins, filigree fleur de lysReference : Hollstein n° 248 à 306..
DIVERS COSTUMES
DE BRUYN ABRAHAM (1540?-1587)Plate executed for the work: Omnium pene Europae, Asiae, Aphricae atque Americae gentium habitus (Clothes of various nations of Europe, Asia, Africa and America), published between 1577 and 1610Reference : Hollstein n° 248 à 306Belle épreuve..
SAINT PAUL
DE LEU THOMAS ( CA.1555-1612 )From the following: Seven main churches of Rome, with the portrait of their Patron Saint (Robert-Dumesnil: 28 to 34)R.D: 30Two small wormholes...
SAINT LAURENT
DE LEU THOMAS ( CA.1555-1612 )From the following: Seven main churches of Rome, with the portrait of their Patron Saint (Robert-Dumesnil: 28 to 34)R.D: 32Three small wormholes...
ARC DE TRIOMPHE HORS LE FAUXBOURG SAINT ANTOINE
PERELLE GABRIEL (1604-1677 )From the suite engraved in collaboration with his two sons Nicolas (1625-1692) and Adam (1640-1695): "Views of the most beautiful Houses of France - The Squares, doors, fountains; churches and houses of Paris. - Views of the beautiful Houses of the surroundings of Paris. - Views of the most beautiful places of Versailles. - Views of the most beautiful Houses of France. - Various views of Chantilly. - Views of Rome and the surroundings "1670..
LA PERSPECTIVE DANS LA MAISON DE MR LE MARQUIS DE DANGEAU
PERELLE GABRIEL (1604-1677 )The Lafont hotel (also known as the Breteuil hotel, the Dangeau hotel, the Missan hotel or the Sainson hotel) is a private mansion located at 12 place des Vosges. It is located on the east side of the square, between the Châtillon and Ribault hotels. From the following: Views of the most beautiful places in France and Italy. Beautiful print, two points of rust in the lower margin, halo in the upper margin not reaching the subject...
LE MONASTERE ROYAL DE VAL DE GRACE
PERELLE GABRIEL (1604-1677 )From the suite engraved in collaboration with his two sons Nicolas (1625-1692) and Adam (1640-1695): "Views of the most beautiful Houses of France - The Squares, doors, fountains; churches and houses of Paris. - Views of the beautiful Houses of the surroundings of Paris. - Views of the most beautiful places of Versailles. - Views of the most beautiful Houses of France. - Various views of Chantilly. - Views of Rome and the surroundings "1670..
LE JET D'EAU, CHANTILLY
PERELLE GABRIEL (1604-1677 )Double printing, one for the view the second for the cartridge.Nice print with large margins, brown spot in the lower left corner...
FONTAINE DE LA PORTE ST.DENIS. FONTAINE DE LA CHARITE. FONTAINE DES PETITS PERES NOIRS.
PERELLE GABRIEL (1604-1677 )From the suite engraved in collaboration with his two sons Nicolas (1625-1692) and Adam (1640-1695): "Views of the most beautiful Houses of France - The Squares, doors, fountains; churches and houses of Paris. - Views of the beautiful Houses of the surroundings of Paris. - Views of the most beautiful places of Versailles. - Views of the most beautiful Houses of France. - Various views of Chantilly. - Views of Rome and the surroundings "1670..
L'HOMME EN HABIT DE MASQUE
LANDRY GABRIEL(LE?) (1670-1740 )Gabriel (le?) Landry was the sister or the brother of François Landry editor at the same address.Proof in beautiful old color, two traces of old adhesive in the upper margin, slightly yellowed paper...
HISTOIRE DE L'ENFANT PRODIGUE
BOSSE ABRAHAM ( 1605-1678 )Complete suite of six framed prints (Blum: 1184-1189; Duplessis: 34-39) in a homogeneous edition, all with margins or margins with the exception of the Festin cut at the limit of the border. -The Prodigal Son leaves the paternal home Skillfully restored transverse tear, fine dubbing, tiny brown stain. -The Prodigal Son in a bawdy-house, uncovered version State II / III before the modifications on the panties of the man in the kitchen and the recovery on the hand of the Prodigal Son to make the board more "decent". On this piece the mention "du Roy"as well as the address of the publisher undoubtedly erased because of its scabrous character and re-established in the last version considered more suitable. Two old traces of brown ink in the most nimble places. -The Prodigal Son keeps the pigs Tiny brown spot in the border. -The Return of the Prodigal Son -The Prodigal Son changes his clothes Two traces of pencil in the sky and on the column. -The Feast of the Return The parable of the Prodigal Son is the subject of almost the entire chapter XV of the Gospel according to Saint Luke. Bosse respects the letter but he nevertheless watered down the end as was previously the case with many other artists very inspired by this theme, such Dürer, Beham, Mérian (who was one of the masters of the Bosse) or Callot whose slightly earlier sequel maintains a discreet relationship with it. (cf.: Abraham Bosse, learned engraver, BNF, Museum of Fine Arts in Tours, 2004)Each, at sight approximately 250 x 320 mmWith the frame 405 x 460 mm..
LE MASSACRE FAICT A CAHORS EN QUERCI LE XIX.NOVEMB.1561.
TORTOREL (ACTIF 1568/1575) ET PERRISSIN (1536-1616)From the following: Forty paintings or various stories that are memorable relating to the wars, massacres and troubles that have occurred in France in recent years. All collected according to the testimony of those who have been there in person ...,Collective collection (The main authors of the plates are Jean Perrissin and Jacques Tortorel), published in 1569-1570 representing important episodes of the first wars of religion, which opposed Catholics and Protestants in France in the 16th century.Brown stain, usual reinforced median fold, several small restorations and slight lack in the lower margin, handling folds...
UN SEIGNEUR A CHEVAL ET SA DAME
BOCKSTORFFER CHRISTOFFEL ( CA.1480-CA.1553 )The artist's monogram appears in the banner at the bottom right: "CB" with the pine cone, mark of Bockstorffer.State II / II with the publisher number David Funck (1682–1709) at the bottom left.Proof cut slightly inside the copper.XVIIth edition.Hollstein: 4..
ECCE HOMO
DURER ALBRECHT D'APRESCopy from the Great Passion on woodblock print after Durer .Late 18th century.Cut to the limit of the square line.(cf.Hollstein: 118)..
ST FRANCOIS RECEVANT LES STIGMATES
BOLDRINI NICCOLO ( ACTIF CA.1540-1566 )After TitianCa.1540Proof cut to the framing line.Passavant : VI.59..
LA NAISSANCE DE ST JEAN BAPTISTE
BONASONE GIULIO (1498-1576 )After Le Pontormo.State II / II at the address of the publisher Lafreri.Scattered freckles, small lack in the restored subject, margin nets.Bartsch: 76...
SEMELE
BONASONE GIULIO (1498-1576 )Semélé from the following : Amours des Dieux Bartsch: 156 Copper cut proof formerly raised on a border, a few scattered red spots..
L'ADORATION DES BERGERS
RAIMONDI MARCANTONIO ( CA.1480-CA.1534 )From the series of Dürer: The life of the Virgin.(Bartsch 621 to 637)Remains of old mountings on the backBeautiful proof cut with the copper mark bearing the stamp of the Arenberg collection, followed by two numbers with graphite lead (probably for one of them affixed before the sale in 1902).Collection of ARENBERG, Brussels and North-Kirchen (Westphalia). Prints. (Lugt: 567)The princes, then dukes of Arenberg counted, in Belgium, since the XVIth century, among the greatest protectors of the arts. It was the duke Louis-Engelbert d'Arenberg (1750-1820) who contributed the most to enrich the collection of prints of his house. Duke Engelbert-Marie, born in 1872, lightened his boxes with a large quantity of prints, which he put on sale in public sale in London (40,000 sheets described under 669 nos).The brand is borrowed from the coat of arms of the house of Arenberg: Gules with 3 flowers of golden medlar, 2 and 1, with the motto: “Christus Protector meus. "Bartsch: 629..
LA NAISSANCE DE LA VIERGE
RAIMONDI MARCANTONIO ( CA.1480-CA.1534 )After Baccio Bandinelli.Edited by Antonio de Salamanca (1478-1563) who worked in association with the printer Antonio Blado and, from 1553 to 1563, with the French printer and engraver Antoine Lafrery.Ca.1540Five short tears restored, copper cut proof.Bartsch: T.XV, p.9.II.1..
JESUS PARMI LES DOCTEURS
RAIMONDI MARCANTONIO ( CA.1480-CA.1534 )From the series of Dürer: The life of the Virgin.(Bartsch 621 to 637)Remains of old mountings on the backBeautiful proof cut with the copper mark bearing the stamp of the Arenberg collection, followed by two numbers with graphite lead (probably for one of them affixed before the sale in 1902).Collection of ARENBERG, Brussels and North-Kirchen (Westphalia). Prints. (Lugt: 567)The princes, then dukes of Arenberg counted, in Belgium, since the XVIth century, among the greatest protectors of the arts. It was the duke Louis-Engelbert d'Arenberg (1750-1820) who contributed the most to enrich the collection of prints of his house. Duke Engelbert-Marie, born in 1872, lightened his boxes with a large quantity of prints, which he put on sale in public sale in London (40,000 sheets described under 669 nos).The brand is borrowed from the coat of arms of the house of Arenberg: Gules with 3 flowers of golden medlar, 2 and 1, with the motto: “Christus Protector meus. "Bartsch: 635..
HABIT DE PLOMBIER
VALCK GERARD ( CA.1651-1726 )From a serie of professions, comprising six groups of six prints (each with an engraved letter and number to denote their position in the sequence), are copies by Valck after the famous series by Nicolas de Larmessin I and his successors , and were published by Valck himself.Between 1695-1720 IFF : Bibliothèque Nationale, Département des Estampes (12-86) Nice print, two marginal tears, one in the subject on the left side...
HABIT DE VANNIER
VALCK GERARD ( CA.1651-1726 )From a serie of professions, comprising six groups of six prints (each with an engraved letter and number to denote their position in the sequence), are copies by Valck after the famous series by Nicolas de Larmessin I and his successors , and were published by Valck himself.Between 1695-1720 IFF : Bibliothèque Nationale, Département des Estampes (12-86) Nice print, several tears consolidated and / or restored in the lower right corner...
PORTRAIT DE MICHEL ANGE AGE DE 74 ANS
BIANCHI OU BLANCUS CRISTOFANO ( ACTIF A ROME CA.1598-1612 )Margin netting, light uniform dusting, posterior printing. Le Blanc : 7..
LA SAINTE FAMILLE
FRANCO GIOVANNI-BATTISTA ( 1498-1561 )watermark: GBL in a circle. Bartsch: 27 Margin net, thinning of the paper at the corners, small missing in the upper margin.Early 17th century print...
APOLLON SE TENANT DERRIERE UNE FEMME OU ALLEGORIE DE LA PEINTURE
BONASONE GIULIO ( 1531-1574 )From the suite : The Loves of the Gods' 1531-1560 Proof cut at the limit of the square line, short tear of 3 mm in the right border, some foxing mainly visible on the back, upper left corner cropped.Bartsch: 161..
LA VIEILLE FEMME ENDORMIE
BRETHERTON JAMES ( CA.1730-CA.1790 )Copy of Rembrandt's version, engraved around 1770. Copper-cut proof..
BADVILA OU TOTILA DEVANT SAINT BENOIT
GIOVANNINI GIACOMO MARIA (1667-1717)From the set The life of St Benoit after Lodovico Carracci After the cycle of S. Michele del Bosco, consisting of a frontispiece and 19 plates. Plate n ° 9 1695 Bartsch XIX.427.29 Fine proof with all untrimmed margins, usual median fold..
SAINT BENOIT RECEVANT DES PRESENTS
GIOVANNINI GIACOMO MARIA (1667-1717)From the set The life of St Benoit after Guido ReniAfter the cycle of S. Michele del Bosco, consisting of a frontispiece and 19 plates. Plate n ° 3 1695Fine proof with all untrimmed margins, usual median fold..
LA PAIX
MUSI LORENZO DE ( ACTIF CA.1554 )Copy of Marc-Antoine Raimondi's version after Raphaël.Grape bunch filigree.Nagler : 1207Bartsch : (Raimondi): 393 C..
LE FILS PRODIGUE : LE RETOUR
MONOGRAMMISTE MT ( TREU MARTIN ?) ( ACTIF ENTRE 1541 ET 1543 )Proof cut to the limit of copper.Two small restored holes, one at the level of the father's belt, the other on the coat of one of his brothers.(On the back: mark? Not identified)Bartsch : 13The identification of this monogramist happens to be problematic. Christ the First, in his Dictionary of Monograms (1750, reprinted 1972, p. 231), attaches to the name of Martin Treu the monogram formed by the letters M. T. He thus declares Martin Treu engraver, apparently basing his explanation on a comparison arbitrary between the two letters and the aforementioned name. The engravings bearing this monogram are for the most part dated, which allows us to locate the artist's activity between 1540 and 1543. Following Christ, the identity of the monogramist, although arbitrarily established, and underlined as such in the biographical notes of artists, will however be maintained. We have no documentation on his place of birth or residence. G. K. Nagler (Neues allgemeines Künstler-Lexikon, 21st vol, 1835-1852, pp. 290-293) integrates the engraver into the 'little masters' and proposes Nuremberg as a city of anchorage. In the absence of real references to a place of activity, A. Andresen, following on from Nagler, evokes on the other hand, a probable belonging to the Saxon school (Die Monogrammisten und diejenigen bekannten und unbekannten Künstler aller Schulen, IVe vol ., 1871, pp. 687-689). According to him, Treu's engravings would recall the style of Hans Brosamer (circa 1500-circa 1552) and even sometimes attempt to imitate that of Aldegrever. Bartsch, (IX, p. 68, et seq.), Mentions forty-two works linked to this engraver. He underlines the rarity of good prints and denounces the high price of some. In his work, G. K. Nagler adds two works to the list described by Bartsch, and which Brulliot had declared incomplete in his Dictionary of Monograms (1817, I, n ° 2958). Passavant (1863, IV, p. 52 et seq.) Finds nine additional engravings, to which A.Andresen will add a few tests which had escaped Passavant. The gaps were relatively easy to fill, because the presumed Martin Treu numbered the series; at least in part. Among the most important, we must mention the suite of The dance of the peasants (1542), The dance of the nobles (1542 and 1543, depending on the print), or the parable of the Prodigal Son (1541 and 1543), which is the engraving. dealt with here. A few isolated subjects, such as The Judgment of Solomon (1540), The Wise Virgins (1540) as a pendant to the Mad Virgins, The Peasant Surprising his Wife in the Arms of a Monk (1540) or even a Project for a Dagger with its Sheath ( 1540). The whole fits well with the favorite themes of contemporary engravers.in Cat expo STRASBOURG, The gods like men, 2003 (Palais Rohan) (p. 201)..
MICHEL LE TELLIER
MORIN JEAN ( CA.1605-1650 )After Philippe de CHAMPAIGNEMichel Le Tellier, Marquis de Barbezieux, Lord of Chaville, Étang and Viroflay, French statesman, Chancellor of France in 1677, was born in Paris on April 19, 1603 and died on October 30, 1685. Robert-Dumesnil 76 State II / II Copper cut proof, tiny skin rashes on the left border..
CELEBRATION DE LA PAQUE EN TERRE PROMISE
MULLER JAN HARMENSZ (1571-1628)From the following: Story of Joshua Good Proof.New Hollstein : 22..
ARC DE TITUS
LAFRERI ANTONIO OU LAFRERY ANTOINE ( CA.1512-1577 )Senatus Populus que Romanus Divo Tito Divi Vespasiani Filio Vespasiano Augusto Proof with a watermark: Orb surmounted by a star The date and address of Lafreri lower right. 1548 Fine proof cut at the limit, or a few millimeters beyond, of the copper, three slight folds mainly visible on the back..
FAMILLE DEVANT UNE TABLE RICHEMENT DRESSEE
DE BAUDOUS ROBERT WILLEMSZ ( CA.1575-CA.1644 )Blessing. In a dining room, a family sits at a richly set table. The parents and the oldest daughter are seated while the four youngest children are standing. The little one in prayer stands near his mother's knees. To the right, an opening gives onto a garden where on the threshold grows a vine laden with grapes, allegory of maternal fertility referring to Psalm 128. Behind each of the children there is an olive branch, at the same time allusion, through the history of the flood and of Noah's ark, to peace but also through holy chrism, of which it is one of the ingredients to carry out the anointings at various times and more particularly at the beginning of Christian life, the symbol of participation in the strength of God.Eight lines in Latin and five in Dutch accompany the image. Rare print. Hollstein: 71 (see also Joan Savary)Proof cut at the limit or slightly inside the square line, reinforced central fold, restored lower left corner, some small scattered holes and reinforced tears...
VEUE DU CHASTEAU DE VERSAILLES DU COSTE DE L'ORANGERIE ( SIC )
BAUDUINS ANTOINE-FRANCOIS (1640 1700)After Frans van der Meulen 1664 Beautiful and large proof in all margins, usual median fold, slight yellowing on the outer edges. Le Blanc : 20Adam Frans Van der Meulen (Brussels 1632 - Paris 1690) was a pupil in Brussels of Peeter Snayers. Mastering the art of representing horses and landscapes, he was called to Paris by Charles Le Brun, first painter to King Louis XIV and director of the Manufacture des Gobelins. Specializing in battle and hunting painting, he came to reinforce in 1665, the group of artists responsible for immortalizing the image of the king and was retired from 1667. He accompanied Louis XIV on all his travels, his residences and the even followed on the battlefield. He brought to Paris, the engraver Adriaen Frans Boudewyns who became one of his favorite interpreters. This one work forming one of the plates known as the : “King's Cabinet”...
MASCARADES 16
BOISSARD ROBERT ( ca.1570 - ? )Plate number 16 from the suite : Mascarades1597State I/II before numberLe Blanc : 27Inv.B.N : 16..
SIBYLLE LIBYQUE
SCULTORI ADAMO ( CA.1530-1585 )PhemonoeAfter Michelangelo.From the set : Prophets and Sibyls1563Nice print, crease in the lower right corner, slight uniform dusting, a spot of rust in the right margin...
AM IN SONTAGDES ADVENTS
FRANCK HANS ( CA.1485 - AVANT 1522 )Beautiful print in old colors with the text on the back, slight uniform yellowing, short tear in the upper border, small scuffs on the back in the corners.Reference: Nagler 1858-79 III.896The typographical text on the prints identifies it as an illustration for one of Geiler's 'Predigt' books, most likely the "Brösamlein von des hochgelerten Keiserpergs tisch so er in vil malen pepredigt hatt" published in Strasbourg by Grüninger in 1517 .It seems that most of the woodcuts were already used in other publications printed by Grüninger from 1510, such as the Plenarium (1510) or Geiler's sermons on the Virgin (1512).Painter and draftsman of woodcuts, Hans Franck was active in Basel between 1505 and 1522. A contemporary of Urs Graf, he accompanied him in numerous mercenary campaigns, including the battle of Novara in 1515. He worked in Basel mainly as a painter wall...
LE XXE DIMANCHE APRES LA TRINITE
FRANCK HANS ( CA.1485 - AVANT 1522 )Or thirtieth Sunday after EasterBeautiful print in old colors with the text on the back, slight uniform yellowing, small hole in the character's shoe on the right and missing in the upper right corner.Reference: Nagler 1858-79 III.896The typographical text on the prints identifies it as an illustration for one of Geiler's 'Predigt' books, most likely the "Brösamlein von des hochgelerten Keiserpergs tisch so er in vil malen pepredigt hatt" published in Strasbourg by Grüninger in 1517 .It seems that most of the woodcuts were already used in other publications printed by Grüninger from 1510, such as the Plenarium (1510) or Geiler's sermons on the Virgin (1512).Painter and draftsman of woodcuts, Hans Franck was active in Basel between 1505 and 1522. A contemporary of Urs Graf, he accompanied him in numerous mercenary campaigns, including the battle of Novara in 1515. He worked in Basel mainly as a painter wall...
LE COURONNEMENT DE LA VIERGE
FRANCK HANS ( CA.1485 - AVANT 1522 )Beautiful print in old colors with the text on the back, slight uniform yellowing.Reference: Nagler 1858-79 III.896The typographical text on the prints identifies it as an illustration for one of Geiler's 'Predigt' books, most likely the "Brösamlein von des hochgelerten Keiserpergs tisch so er in vil malen pepredigt hatt" published in Strasbourg by Grüninger in 1517 .It seems that most of the woodcuts were already used in other publications printed by Grüninger from 1510, such as the Plenarium (1510) or Geiler's sermons on the Virgin (1512).Painter and draftsman of woodcuts, Hans Franck was active in Basel between 1505 and 1522. A contemporary of Urs Graf, he accompanied him in numerous mercenary campaigns, including the battle of Novara in 1515. He worked in Basel mainly as a painter wall...
PHILIPPE DE FRANCE DUC D'ANJOU
BONNART HENRI (1642-1711)Proof edited by Bonnart. Nice draw, scattered rednesses, clear halo in the lower right corner.Philippe of France Duke of Anjou, second son of Monsignor the Dauphin (1683-1746). Son of the Grand Dauphin and grandson of Louis XIV, became King of Spain in 1700 under the name of Philippe V..
