Old Masters Prints and Multiples

Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Stourbridge", "A View of Upton upon Severn, from Ryal Hill", "Bewdley", and "Tenbury" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Four Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Sheet size (each): approx. 10" x 16.5" Image size (each): approx. 6.88" x 11.75" Reference: Upcott III, page 1330 Condition: A few light handling creases. Have been professionally stored away for decades. They are all strong impressions in excellent condition Notes: Provenance: private collection - Aspen, CO. All four works were engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after drawings by himself. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in 1799. And, both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". Both "A View of Stourbridge" and "A View of Upton upon Severn, from Ryal Hill" have unidentified fleur-de-lis watermarks in the center of their sheets. "Bewdley" has an unidentified watermark in the center of its sheet resembling "XV" and "Tenbury" has no watermark. Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

Jan van de Velde II (1593-1641) Tobias Surprised by the Fish Etching and engraving on fine laid paper without watermark, c. 1620-1630 After Moses van Uyttenbroeck (Dutch, c. 1595–aft...

A beautiful and significant oleograph depicting a crucified Jesus with rare intensity and skill, rendered in an almost hyper-realistic style. The figure of Jesus stands out against ...

Jan Both (Dutch, Active 1636-1652) View of the Tiber in the Campagna (The Ferry) Etching, c. 1645-1652 Unsigned (as usual) in this early state Provenance and Collector's Mark verso: Petersen, Lugt 2064 verso Illustrated: Freedberg, Dutch Landscape Prints...

Artist: Peter Brown (English, Active: c.1758-1799) Title: "The Fossane (Malagasy Civet)" (Plate XLIII - 43) Portfolio: New Illustrations of Zoology, Containing Fifty Coloured Plates ...

GIOVANNI BATTISTA PIRANESI (Italian 1720-1778) VEDUTA del SEPOLCRO della Famiglia PLAUZIA per la strada che Conduce da Roma a Tivoli vicino a Ponte Lugan...

This is an 18th century etching by Giovanni Battista Piranesi entitled "Veduta del Tempio detto della Tosse su la Via Tiburtina, un miglio vicino a Tivoli" (View of the so-called Tem...

This early 19th century etching entitled "Veduta dello scavo del Foro Trajano" was created by Luigi Rossini and included in his publication "Le Antichita Romane" (The Rome of Antiquity), published in Rome in 1823. It depicts the historical victory column of Trajan standing amidst the rubble of broken columns that remain around it. The etching is presented in a black wood frame with a light brown outer mat and a dark brown inner mat. There are several frame abrasions. The print and mats are in very good condition. The frame measures 27" high, 29.07" wide and 0.5" deep. The print is framed and matted in the identical style as the another etching of an ancient Roman landmark, the Piazza Navona, which is also listed on 1stdibs, see item # LU117326144172. The pair would make an attractive display grouping of Roman architecture. A discount is available for purchase of the pair of prints. Luigi Rossini (1790-1857) like his predecessors, Giovanni Piranesi (1720–1778) and Giuseppi Vasi (1710-1782), was an architect and artist. Like Piranesi and Vasi, he wanted to glorify the architecture of ancient Rome, which he felt was deteriorating and needed to be documented. Several of the ruins he illustrated have, in fact, since disappeared leaving only his images as a record of their appearance. His images of the grand edifices of the city dramatically depict the power and glory...

Engraving after Egidius Coninxloo (c. 1581 - 1619), executed by Nicolaes De Bruyn (Antwerp 1571 - 1652 Amsterdam) Unidentified watermark

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta dell'interno dell'Anfiteatro Flavio detto il Colosseo" (View of the interior of the Flavian Amph...

This is a 16th century original hand-colored copperplate engraved map of Frankfort, Germany entitled "Francenbergum, vel ut alij Francoburgum Hassiae Opp" by Georg Braun & Franz Hogenberg, from their famous city atlas "Civitates Orbis Terrarum", published in Cologne, Germany in 1595. This is an English translation of an excerpt from the original text in the atlas: "Frankenberg or, according to others, Francoburgum, a town in Hesse. Charlemagne vested the town of Frankenberg with many freedoms and privileges, which it still enjoys to this day, and on account of its valiant and victorious soldiers awarded a signet, upon which there formerly appeared a golden castle with a tower, together with the letter F and a golden crown. Frankenberg, seen here from the northeast, lies on a hill above the River Eder. The hillside is covered with fields neatly separated by bushes and fences. Soaring above the town is the massive Liebfrauenkirche, which was modelled on St Elizabeth's church in Marburg. The New Town was founded in 1335 at the foot of the hill (right) and merged with the Old Town as late as 1556. Frankenberg was founded by Conrad of Thuringia in 1233/34 to prevent the archbishops of Mainz from expanding their sphere of influence...

Etching, excellent proof of II state on IV, before the retouching of the ground and the vault on the right, margin line. Ref. Bartsch, Hollstein 94; Hind 301; New Hollstein 312; Sto...

Important series of eight colorful Japanese woodblock prints featuring iconic scenes of Japanese life. They are the work of great artists including: Mizuno Toshikata (1866-1908) Utagawa Toyokuni (Japanese: ?; 1769 in Edo – 24 February 1825 in Edo) This series of woodblock prints, never before on the market, comes from a private collection. Utagawa Toyokuni[a] (歌川 豊国; 1769 – 24 February 1825), also often referred to as Toyokuni I, to distinguish him from the members of his school who took over his gō (art-name) after he died, was a great master of ukiyo-e, known in particular for his kabuki actor prints. He was the second head of the renowned Utagawa school of Japanese woodblock artists, and was the artist who elevated it to the position of great fame and power it occupied for the rest of the nineteenth century. He was born, the son of Kurahashi Gorobei, a carver of dolls and puppets...

(Mogliano 1720–1778 Roma) “Veduta degli avanzi del tablino della Casa aurea di Nerone detti volgarmente il Tempio della Pace”, 1774, aguafuerte sobre papel verjurado, firmado Cavalie...

Antiquities of Herculaneum - Letter of the Alphabet L, from the series "Antiquities of Herculaneum", is an original etching on paper realized in the 18th century. Good conditions ...

Correccion is an original artwork realized by Francisco Goya and published for the first time in 1799. Etching on wove paper. This artwork belongs to the Third Edition published in...

AMERICAN REVOLUTION THE ABLE DOCTOR IN AMERICA SWALLOWING THE BITTER DRAUGHT, 1774 (LC Cresswell 664). Engraving and etching. Originally from "The London Magazine", April 1774. Pl...

Curarlos y a otra is an original artwork realized by the great Spanish artist Francisco Goya in 1810. Original etching on paper. The artwork belongs to the famous print collection L...

Camel Study is an original old master artwork realized by Stefano Della bella in 1640 ca. Black and white etching. The plate is from the suite "Têtes de différents animaux". Includ...

Artist: Johannes "Jan" Kip (Dutch, 1652/3-1722) Title: "The West Prospect of the Cathedral of York" (Vol. 3, Plate 31) Portfolio: Britannia Illustrata / Le Nouveau Théâtre de la Grande Bretagne Year: 1715-1724 (Third edition) Medium: Original Engraving and Etching on cream laid paper Limited edition: Unknown Printer: Joseph Smith, London, UK Publisher: Joseph Smith, London, UK Sheet size: 19.25" x 24.19" Image size: 16.75" x 22.5" Reference: "London Illustrated 1604-1850" - Adams No. 22; Crace No. 201; Brunet IV No. 114; Lowndes No. 1277; Lewine page 263-264 Condition: With centerfold as issued. Some light toning and foxing mainly in margins, and some light edgewear. Has been professionally stored away for decades. It is otherwise a strong impression in very good condition Rare Notes: Provenance: private collection - Ross-on-Wye, UK. Engraved by Dutch artist Johannes "Jan" Kip (1652/3-1722) after a drawing by Dutch artist Leonard Knyff or Leendert Knijff (1650-1722). Comes from Kip's six volume (including Supplement and 'Atlas Anglois') "Britannia Illustrata" / Le Nouveau Théâtre de la Grande Bretagne", (1724-1728) (Third edition), which consists of 394 engravings and etchings. Printed in one color from one copper plate: black. Biography: Johannes "Jan" Kip (1652/53 in Amsterdam - 1722 in Westminster) was a Dutch draftsman, engraver and print dealer. Together with Leonard Knyff, he made a speciality of engraved views of English country houses. Kip was a pupil of Bastiaen Stopendaal (1636–1707), from 1668 to 1670, before setting up on his own; his earliest dated engravings are from 1672. In April 1680, at the age of 27, he married Elisabeth Breda in Amsterdam. After producing works for the court of William of Orange in Amsterdam, Kip followed William and Mary to London and settled in St. John Street in Farringdon, where he conducted a thriving printselling business. He also worked for various London publishers producing engravings after such artists as Francis Barlow (c. 1626–1704) and Caius Gabriel Cibber (1630–1700), largely for book illustrations. He made several engraved plates for Awnsham & John Churchill's "A Collection of Voyages & Travels" (first published 1704). He signed the African scenes in volume V of the 1732 edition as "J. Kip". His most important works were the large fold-out folio illustrations for "Britannia Illustrata", 1708; for the 65 folio plates he engraved for the antiquary Sir Robert Atkyns, "The Ancient and Present State of Glostershire", 1712 (1st edition); and for "Le Nouveau Théâtre de la Grande Bretagne ou description exacte des palais de la Reine, et des Maisons les plus considerables des des Seigneurs & des Gentilshommes de la Grande Bretagne", 1715, an extended reprint in collaboration with other artists. The linked careers of Jan Kip and Leonard Knyff made a specialty of engraved views of English country houses, represented in detail from the bird's-eye view, a pictorial convention for topography. Their major work was "Britannia Illustrata: Or Views of Several of the Queens Palaces, as Also of the Principal seats of the Nobility and Gentry of Great Britain, Curiously Engraven on 80 Copper Plates", London (1707, published in the winter of 1708–9). The volume is among the most important English topographical publications of the 18th century. Architecture is rendered with care, and the settings of parterres and radiating avenues driven through woods or planted across fields, garden paths, gates and toolsheds are illustrated in detail. The images are staffed with figures and horses, coaches pulling into forecourts, water...

This is a framed 18th century Giovanni Battista Piranesi etching entitled: "Veduta interna del Sepocro di Santa Costanza, fabbricat...

Albrecht Durer, After by Amand Durand, German (1471 - 1528) - La Vierge avec l'Enfant Jesus Emmaillotte, Year: 1873, Medium: Heliogravure on laid paper, Size: 6 x 4 in. (15.24 x ...

An impression from the 1st edition published in 1799, the only edition published during Goya's lifetime. References: Los Caprichos Plate 15; Delteil 52; Harris 50 III.1 Prado ...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Royal Hospital att Greenwich to the River" (Vol. 1, Plates 86, 87) Portfolio: Vitruvius Britannicus; or The British Architect, Co...

Engraving by Joannes and Lucas van Doetecum (Deventer active by 1551 - circa 1569 Haarlem) in the manner of Peter Bruegel the Elder

S. Paolo Fuori Le Mura (Vedute della Basilica di S. Paolo fuor della mura) Etching, 1748 From: Vedute di Roma, Plate 8 An early Roman printing, published by Bouchard e Gravier Watermark: Fleur de Lys in a double circle Signed in the plate Condition: Small margins as are common with Bouchard published impressions. Centerfold (as usual) Rich impression with good contrasts Plate/Image size: 15 7/8 x 24 1/8 inches Sheet size: 17 3/8 x 24 3/4 inches Reference: Focillon 723 Wilton-Ely 138 Hind 6 ii/VI, Bouchard e Gravier printing, before the price and numbers in later states This image is Piranesi’s second interior scene from the Vedute di Roma. The first interior is a less complex composition of the Interior of St. Peters which lacks the challenging perspective that the artist masters in this image. The Papal Basilica of St. Paul Outside the Walls...

WILLIAM HOGRATH (1767- 1764) THE BATHOS / Tail Piece 1764 (Paulson 1989: 216 I/I Paulson 1965/70: 216 I/I) Engraving Plate 12 7/8 x 13 3/8, sheet 17 ¾ x 18 ¾ Designed & Engrav’d by Wm Hogarth at left and Published according to Act of Parliam’t March 3, 1764 at right. Good condition on thick laid paper Small bit of tape on the left & right sheet edges small stan lower sheet edge all on recto. This Hogarth’s last print is fascinating as it is prophacy about death. Various institutions have interesting commentaries - to wit: Chicago Art Institute: Hogarth created The Bathos toward the end of his life. It is considered one of the bleakest artworks of the 18th century because it depicts the Apocalypse without an afterlife. The Angel of Death even collapses in exhaustion after having destroyed the world. In his hand is an execution decree and around him lies a mass of broken objects. Princeton: Hogarth’s last print, The Bathos,….. is filled with all manner of images denoting the end of life as we know it. Entry no. 216 in Ronald Paulson’s catalogue raisonne Hogarth’s Graphic Works, 3rd revised edition says “This print is the culmination of such pessimistic images . . . . [taking] his general composition, the configuration of objects, and some of the particular items, from Dürer’s engraving, Melancholia; but he also recalls Salvator Rosa’s Democritus in Meditation (which derives from Dürer’s print) with a scroll at the bottom of the etching: ‘Democritus the mocker of all things, confounded by the ending of All Things’ (Antal, p.168).” Newfields (Indianapolis Museum of Art): Hogarth intended this engraving to serve as the tailpiece to bound volumes of his collected engravings and, appropriately, it proved to be his last engraving. Father Time has died and his last will and testament has been witnessed by the three Fates. He is surrounded by a landscape of death, decay, and ruin. Hogarth aimed this print at dealers in “dark” Old Masters paintings who promoted the idea that ruins evoked sublime feelings in viewers—a sentiment, Hogarth wrote, that was reducing the world to ruin. British Caricature...

Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Pershore, from Pensham hill", "A View of Shipston upon Stour", and "Kidderminster" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Three Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Sheet size (each): approx. 10.13" x 16.75" Image size (each): approx. 7" x 11.88" Reference: Upcott III, page 1330 Condition: A few light handling creases. Have been professionally stored away for decades. They are all strong impressions in excellent condition Notes: Provenance: private collection - Aspen, CO. All three works were engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after drawings by himself. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in (1799). And both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". All three, "A View of Pershore, from Pensham hill", "A View of Shipston upon Stour", and "Kidderminster" have an unidentified watermark in the center of their sheets resembling "XV". Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

This is an etched portrait of a pensive woman wearing a detailed cloth head scarf by George Woolliscroft Rhead (1854-1920). It may be entitled "A Fisher Wife", but this can not be co...

"A sua Eccellenza il Signor Henry Hope Cav. Scozzese Amatore delle Belle Arti from "Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi", (Vases, candelabra, grave stones, sarcophagi, tripods, lamps, and ancient ornaments) is an etching by Giovanni Battista Piranesi, published in 1778. It depicts stone caryatids...

Enea Vico (1523-1567) engraving, Two Trophies With a Cuirass Lower Left, 1550, Bartsch 449, with the name of the publisher Ant[onio] Lafreri at bottom, first state (of 2) before numb...

The four plates in this "Four Times of the Day" set were created utilizing both engraving and etching techniques by William Hogarth in 1738. Hogarth's original copper plates were refurbished where needed by James Heath and these engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's original copper plates were used for printing. Most were melted down during World War I for the construction of bombs. Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. The inscription below each print reads "Invented Painted & Engraved by Wm. Hogarth & Publish'd March 25. 1738 according to Act of Parliament". These large folio sized "Four Times of the Day" engravings/etchings are presented in complex gold-colored wood frames with black bands and scalloped gold inner trim. A majority of each thick impressive frame is covered with glass applied near the outer edge. Each frame measures 25.75" high, 22.25" wide and 1.88" deep. There are a few small dents in the edge of these frames, which are otherwise in very good condition. "Morning" has two focal areas of discoloration in the upper margin and some discoloration in the right margin, a short tear in the left margin and a short tear or crease in the right margin. "Noon" has a spot in the upper margin that extends into the upper image, but it is otherwise in very good condition. "Evening" has a faint spot in the upper margin, but it is otherwise in very good condition. "Night" is in excellent condition. The "Four Times of the Day" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Victoria and Albert Museum. Through this series Hogarth is portraying early 18th century London street life at "Four Times of the Day". His characters are exhibiting their personalities, quircks, strange activities, but he also wants to draw attention the disparities between the wealthy aristocracy and the common working class. Plate 1, "Morning" depicts morning in Covent Garden in the winter in front of Tom King...

Adriaen Collaert Flemish, Antwerp, c. 1560–1618 after Maerten de Vos Flemish, 1532–1603 C. Iulius Caesar (Julius Caesar as the Fourth Monarch), c. 1585–1600 Plate 4 from Four Illust...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta del Mausoleo d'Elio Adriana ora chiamato Castello S. Angelo nella parte opposta alla Facciata de...

Woodcut on laid paper, 8 3/8 x 9 1/8 inches (212 x 233 mm), the full sheet. In excellent condition with text and portraits of Empedocles, Sapho, Zeuxis and others on the verso, as is...

Engraving on cream laid paper, 8 x 5 7/8 inches (202 x 149 mm), trimmed at the platemark. Adhered at each corner to a small sheet of archival laid paper. Horizontal edge loss at the ...

Johannes and Lucas van Doetecum, after Cornelis Floris II Modern Grotesque with Strapwork, 1557 Etching on laid paper Approximately 30.5 × 20.6 cm (12 × 8⅛ in.) Designed by Cornelis...

Celebrated for the "sfumato" effect that Goltzius achieved through engraving alone, the incredibly fine lines in this work create the illusion of soft, glowing light and atmospheric ...

La obra es de autor anónimo La obra se presenta enmarcada con un marco bastante actual Medidas obra: 66 cm altura x 54 cm ancho. Medidas marco: 94 cm altura x 83 cm ancho. El est...

A magnificent forest scene with lush, vast foliage along a brook by a master of the Dutch Golden Age. Amsterdam: c1650. Etching on cream laid paper, 5 1/8 x 5 3/4 inches (130 x 147 ...

El caballo raptor - from Los Proverbios is an original black and white etching realized by Francisco Goya (1746-1828). The artwork is the plate n. 1...

The Archangel Raphael Leaving Tobias' Family is an etching by Rembrandt executed in 1641. This etching is a proof of the 3rd state (of 4) before of the diagonals on the ground at the...

A 16th century image from the state-sponsored military manual that revolutionized European warfare tactics. Leiden: 1599. Engraving on laid paper with a partial chalice and grapes ...

Celebrated for the "sfumato" effect that Goltzius achieved through engraving alone, the incredibly fine lines in this work create the illusion of soft, glowing light and atmospheric ...

FRANCISCO de GOYA y LUCIENTES (1746 -1828) OBSEQUIO á el MAESTRO (‘A gift for the master’) Plate 47 from the 1st edition of Los Caprichos (Blas, ...

Buffon, Histoire Naturelle, 1767–1771 – Tom. V, Pl. XXVII (p. 300): Le Lévrier Copper engraving depicting Le Lévrier (Greyhound) standing in elegant profile within a landscaped esta...

1910 Master Wood Engraving after Rembrandt with Cap, Signed Beautifully rendered print after Rembrandt by master engraver Timothy Cole (British/American b. 1852 d. 1931.) Rembrandt ...

A fascinating image of a well-known theif robbing a merchant of goods held atop her head. Paris: circa 1670. Etching and engraving on cream laid paper, 6 3/4 x 4 15/16 inches (17...

Image dimensions: 51x38.4 cm. Beautiful Artist's Proof, representing the apparatus for firework built in occasion of the Feast of S. Peter and Paolo (29th June 1776) by Paolo Posi. ...

Carcere ascura Etching, 1743 Signed in the plate bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s This image foretells Piranesi's famous set, Carceri (Prisons) which is his next creative effort. Condition: Horizontal crease midway in the sheet associated with the manufacture of the paper. Visible watermark verso Small printer crease in the bottom right below the caption plate. Image size: 14 1/2 x 9 1/2 inches Reference: Robison 3 iii/VI Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

An image from a 17th-century military drill manual depicting techniques for handling muskets and pikes. De Ghen II, Jacques / Jacob Wapenhandelinghe van Roers, Musquetten ende Spies...

Novembre is an original print in etching technique on ivory paper, realized by Marcel Roux, an engraver and sculptor, after J.F. Millet (French Painter, 18...

The Temple of Peace is an original black and white etching realized by Giuseppe Vasi. Good conditions except for the trace of being fold at the middle. Sheet dimention:42 x 56 The...

Spiaggia detta La Regola is original black and white etching realized by Giuseppe Vasi. Beautiful etching representing a glimpse of Rome. Signed and titled on plate lower margin. ...

Artist: Francis Grose (English, 1731-1791) Title: "The Bishop of Durham's Palace at Auckland" (Vol. IV, Plate 12) Portfolio: The Antiquarian Repertory: A Miscellaneous Assemblage of ...

The Temple of Neptune is an original black and white etching realized by Giuseppe Vasi. Good conditions except for the trace of being fold at the middle and a folding on the top-rig...

Roman Temple Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Carlo Oraty in the 18th Century. Signed on the plate. Good conditions. The etching belongs...

A superb impression from an important mid-19th century collection. Etching on white laid paper with a partial crown and shield watermark, 4 x 2 7/8 inches (102 mm x 73 mm), margins....

Lithograph on paper. Plate from the Series "Les Fleurs Animées". Single sheet with passepartout.  "...My strength has been exhausted by piercing through the hard snows of winter. B...

View of Castel of Acqua Felice is an original etching realized by the italian artist Giovanni Battista Piranesi in 1751. Very precoius and rare lifetime impression. Roman edition. I...