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The debilitated situation of a monarchical Government when puffed up by pride. The flourishing condition of a well-formed industrious Republic.
[np: c1836]..
12" x 16 ¾" (30.2 x 42.4 cm). lithograph. This anonymous political caricature contrasts the prosperous United States with the debt-ridden French monarchy. Andrew Jackson of the United States is holding the Treaty of 1831 (relating to American shipping losses in the Napoleonic Wars) and Louis Philippe of France is holding "Fortunate speculation 25 millions".
$495 USD Book Number: sala1 Order / Enquire
BELLA, Stefano Della [1610-1664].
Choc de cavalerie (Clash of the caveliers).
c1641.
etching. 107 x 250 mm. signed 'DB' in the plate. A very good impression, trimmed just outside plate mark (remains of old tape in upper margin outside plate mark). Provenance: James Barry Anderson (rubberstamp on verso). Only State. From the series 'Divers dessins tant pour la paix que pour la guerre', published by Israël Henriet, Paris. The battle scene extends from left to centre, with cavaliers galloping into the distance on the right. Della Bella was born in Florence in 1610, and studied the art of etching under Remigio Cantagallina, who had also been the master of Callot. While at first the young artist undertook to emulate Callot, he soon developed a style of his own. "No artist has handled the point with more facility and finesse than Della Bella. His execution is admirable, and his touch spirited and picturesque. He designed his subjects with infinite taste, and his plates produce a clear and brilliant effect.". (Bryan's Dictionary Of Painters And Engravers). The present etching dates from Della Bella's enormously productive and successful stay in Paris, where he worked from 1640 to 1649, etching prints on a wide variety of subjects: military, landscape, theatrical, religious, architectural, &c. De Vesme/Massar 267.
| $800 USD | Book Number: MP2 | Order / Enquire |
BELLA, Stefano Della [1610-1664].
Conduite de Canons (The Line of canons).
c1641.
etching. 110 x 252 mm. signed 'DB' in the plate. A very good impression, trimmed just outside plate mark (remains of old tape in upper margin outside plate mark, small pale stain in sky). Provenance: James Barry Anderson (rubberstamp on verso). Only State. From the series 'Divers dessins tant pour la paix que pour la guerre', published by Israël Henriet, Paris. The print shows on the left a long line of horse-drawn canons extending into the distance, to the extreme right a cavalier making a sign with his right hand, at centre foreground a horse whose rider has fallen to the ground, and at right foreground a dead horse, in the distance a battle on a bridge. Della Bella was born in Florence in 1610, and studied the art of etching under Remigio Cantagallina, who had also been the master of Callot. While at first the young artist undertook to emulate Callot, he soon developed a style of his own. "No artist has handled the point with more facility and finesse than Della Bella. His execution is admirable, and his touch spirited and picturesque. He designed his subjects with infinite taste, and his plates produce a clear and brilliant effect.". (Bryan's Dictionary Of Painters And Engravers). The present etching dates from Della Bella's enormously productive and successful stay in Paris, where he worked from 1640 to 1649, etching prints on a wide variety of subjects: military, landscape, theatrical, religious, architectural, &c. De Vesme/Massar 265.
| $750 USD | Book Number: MP1 | Order / Enquire |
BELLA, Stefano Della [1610-1664].
La Bataille des Amalecites.
c1649.
etching. 124 x 278 mm. signed in the plate. A very good impression, trimmed just outside plate mark. Provenance: Kennedy Galleries Inc., New York (label). Second State (of 2). Amalekites are shown riding in a large landscape pursued by Israelites. A dead man and a dead horse are in the foreground left and another dead man is shown in foreground right. Three figures are discernable on a distant mountaintop to the right (Moses, Aaron and Hur). Della Bella was born in Florence in 1610, and studied the art of etching under Remigio Cantagallina, who had also been the master of Callot. While at first the young artist undertook to emulate Callot, he soon developed a style of his own. "No artist has handled the point with more facility and finesse than Della Bella. His execution is admirable, and his touch spirited and picturesque. He designed his subjects with infinite taste, and his plates produce a clear and brilliant effect.". (Bryan's Dictionary Of Painters And Engravers). The present etching probably dates from Della Bella's enormously productive and successful stay in Paris, where he worked from 1640 to 1649, etching prints on a wide variety of subjects: military, landscape, theatrical, religious, architectural, &c. De Vesme notes that Jombert dates the etching from 1663 in which case the French privilege recorded in the print makes no sense. De Vesme/Massar 3.
| $800 USD | Book Number: MP3 | Order / Enquire |
BLOOTELING, Abraham [1640-1690] after Bernard VAILLANT [1632-1698].
Portrait of Hieronymus Van Beverningk [1614-1690], Dutch statesman and diplomat, Mayor of Gouda.
1679.
copper engraving. 343 x 254 (image) (sheet: 350 x 261 mm.). signed & dated in the plate. A good dark impression on slightly thick laid paper (mounting tape on verso). Provenance: rubberstamp in lower right corner of Friedrich August II [1797-1854]. Fourth State (of 5). The Dutch engraver and mezzotinter Blooteling was a pupil of Cornelis van Dalen and probably worked with Cornelis Visscher. He is credited with the invention of the rocker as a tool in the preparation of mezzotint plates and with the introduction of the technique into England. Hollstein 3.
| $450 USD | Book Number: MP4 | Order / Enquire |
CESIO, Carlo [1622-1682] after Guido RENI [1575-1642].
St. Andrew Led to Martyrdom.
17th century.
etching with engraving. 297 x 446 (image). narrow margins. signed in the plate. beige laid paper (11 short tears & 1 small hole at edges entering image, crease in upper left corner, remains of mounting on verso). Likely Third State with name of Vincentius (Vincenzo) Billy as publisher in the plate. St. Andrew is shown kneeling with his arms extended and hands together in prayer, his clothes being stripped from him, surrounded by soldiers (some on horseback) and onlookers. His cross is visible on a hill in the distance on the upper right. The scene is after a fresco by Guido Reni located in the Oratory of St. Andrew in San Gregorio Magno in Rome. This is one of Cesio's major prints. Bartsch 3.
| $650 USD | Book Number: MP6 | Order / Enquire |
COCK, Hieronymus [1510-1570].
Landscape With Abraham's Sacrifice.
1551.
etching. 245 x 365 mm. signed & dated in the plate. A very good dark impression on laid paper with King's orb watermark, trimmed to just outside image. Only State. Abraham is shown with a sword raised above his head with Isaac kneeling before him, the scene set in an expansive landscape. The southern Netherlandish painter and etcher Cock produced a total of 62 etchings but he was better known as a print publisher: "[He] was the most important print publisher of his time in northern Europe and played a key role in the transformation of printmaking from an activity of individual artists and craftsmen into an industry based on division of labour. His house published more than 1,100 prints between 1548 and his death in 1570, a vast number by earlier standards... Cock's enterprise played an important role in the spread of the Italian High Renaissance throughout northern Europe as Cock published prints made by prominent engravers such as Giorgio Ghisia, Dirck Volckertsz Coornhert and Cornelis Cort after the work of leading Italian painters like Raphael, Primaticcio, Bronzino, Giulio Romano and Andrea Sarto." (Wikipedia) The landscape design for the present etching has been attributed to Hieronymus by Hollstein, and to his brother Matthys by Nagler. Hollstein 1.
| $1500 USD | Book Number: MP7 | Order / Enquire |
CORT, Cornelis [c1533-c1578] after Johannes SPECCARD (SPECKAERT).
Portrait of Saint Lawrence.
1577.
copper engraving. 215 x 152 mm. (image). laid paper. trimmed at or near neatline (image shaved on left). signed in the plate. A dark impression (repair to upper left corner with some loss, mounting tape on verso). Second State (of 3). Apparently 2 lines of Latin verses and Speccard's (Speckaert's) name have been cut off at the bottom. The Dutch engraver apprenticed with prolific print publisher Hieronymus Cock and spent the last twelve years of his life in Italy, where he lived for a time with the painter Titian in Venice, and where he produced engravings based on works by Titian, Raphael, Caravaggio and others. "In the use of a more open system of lines, contrasting with the closer hatching of Marcantonio and is followers, Cort was perhaps the pioneer in Italy, and the immediate inspirer of Agostino Carraci." (Hind, A History of Engraving and Etching, p. 119) Hollstein 138.
| $500 USD | Book Number: MP8 | Order / Enquire |
EDELINCK, Gérard [1640-1707] after François De TROYE [1645-1730].
Portrait of French Priest and Encyclopedist Louis Moréri [1643-1680].
c1666-1707.
copper engraving. 324 x 218 mm. (plate). (sheet: 348 x 243 mm.). signed in the plate. A good dark impression on thick laid paper (traces of mounting on verso). Edelinck studied with the engravers Gaspar Huybrechts and Cornelis Galle the Younger in his native Antwerp, and with François de Poilly, Robert Nanteuil, and Philippe de Champaigne in Paris. He became a naturalized French citizen in 1675, was appointed by Louis XIV teacher at the academy established at the Gobelins manufactory for the training of workers in tapestry, won admission to the Académie Royale de Peinture et de Sculpture in 1677, and became principal draftsman for the King. A superb portrait engraver, Edelinck executed prints of many of the most eminent persons of his time.
| $450 USD | Book Number: MP11 | Order / Enquire |
EDELINCK, Gérard [1640-1707] after Frans HALS [1580-1666].
Portrait of French Philosopher, Mathematician and Scientist René Descartes [1596-1650].
c1666-1707.
copper engraving. 283 x 205 mm. (plate). signed in the plate. A good dark impression on laid paper, trimmed to 3 mm. outside plate mark. Edelinck studied with the engravers Gaspar Huybrechts and Cornelis Galle the Younger in his native Antwerp, and with François de Poilly, Robert Nanteuil, and Philippe de Champaigne in Paris. He became a naturalized French citizen in 1675, was appointed by Louis XIV teacher at the academy established at the Gobelins manufactory for the training of workers in tapestry, won admission to the Académie Royale de Peinture et de Sculpture in 1677, and became principal draftsman for the King. A superb portrait engraver, Edelinck executed prints of many of the most eminent persons of his time.
| $750 USD | Book Number: MP10 | Order / Enquire |
HABERMANN, Francois Xavier [1721-1796].
Vüe de la Rue des Recolets dans la haute Ville de Quebec.[Title also in German]. Collection des Prospects Vue De La Rue. [Upper Margin mirror image title]. Gravé par Francois Xav. Habermann.
Augsburg: [c1775]..
12 3/4 x 16 1/2 inches (entire sheet; 32.4 x 41.9 cm). etching. original colour with cutouts to windows & doors, mounted on board with additional sheet on verso for use in viewing box (few stains, some cockling & lower margin trimmed inside plate mark). An imaginary view of Quebec from Habermann's Collection des Prospects. Spendlove, The Face of Early Canada, p. 83.
$999 USD Book Number: sala11 Order / Enquire
[MIGLIARA, Giovanni [1735-1837] (After); RUFF, Johannes [1813-1886] (Engraver)].
Collection of 14 hand-coloured aquatint views heightened with gum Arabic, depicting architectural landmarks of the city of Milan.
[np: c1840]..
12 prints measuring 168 x 221 mm, trimmed to neatline & mounted on larger sheets with double ruled borders & ms. titles, 2 slightly smaller loose prints trimmed inside neatline. 19th century velvet over wooden boards, mounted brass borders on sides, monogram 'M P' in brass surmounted by a baronial coronet in brass on upper cover, brass catches, watered silk endpapers (some marking & few stains to covers, upper cover detached, rear joint cracked, spine worn, clasp lacking). The artist and engraver attributions are based on the aquatint of the Maggiore Hospital held by the Wellcome Library which has its legend intact printed below the image. Further research located images of two Migliara paintings after which the corresponding aquatints were engraved. Since all of the aquatints are stylistically uniform it is more than highly likely that they were all engraved by Joannes Ruff after paintings by Giovanni Migliara. Migliari studied at the Brera Academy in Milan and began his career as a set designer in the Teatro Carcano and La Scala. He became a favourite of the Milanese aristocracy and in 1822 was named professor at the Brera Academy. In 1833 he was named court painter to King Charles Albert of Sardinia after being presented with the Civil Order of Savoy. His artistic output included numerous views of Milan and Venice. The aquatints depict (1) Porta Romana; (2) Piazza dei Mercanti; (3) Palazzo Reale: (4) Il Duomo (Milan Cathedral); (5) San-Fedele; (6) Scala di Brera (Brera Academy); (7) La Scala; (8) Porta Orientale; (9) Porta Nova: (10) Porta Comasina; (11) Arena; (12) Porta del Sempione (Arco della Pace); (13) unidentified street scene; and (14) Maggiore Hospital.
$7500 USD Book Number: elala5561 Order / Enquire
MORIN, Jean [1600-1650] after Anthony Van DYCK [1599-1641].
Portrait of Italian Cardinal, statesman and historian Guido Bentivoglio [1579-1644].
c1645.
etching & engraving. 289 x 233 mm. (image). signed in the plate. A good dark impression on laid paper, trimmed to just outside image. "Jean Morin is another engraver of the earlier part of the seventeenth century in France, who fills a distinct and distinguished place in our history...he constantly combines engraving with etched dot and line, and achieves thereby a subtlety of tone of which the Bentivoglio after Van Dyck is a brilliant example." (Hind, A History of Engraving and Etching, p. 144)
| $750 USD | Book Number: MP15 | Order / Enquire |
NANTEUIL, Robert [1623 or 1630-1678].
Portrait of French statesman Michel Le Tellier [1603-1685].
1661.
copper engraving. 334 x 254 mm. (sheet). signed in the plate. A good dark impression on laid paper with coat of arms watermark, trimmed at or just outside plate mark. (slight thin spots in left edge, mounting tape on verso). Provenance: Estate of James Kingon Callaghan. First State (of 2). Arthur Hind refers to Nanteuil as "the master of pure engraving" and "the undisputed head of the French school of portraiture". "At its best his work possesses a noble directness of expression and a complete freedom from all the attractive mannerisms by which a spurious reputation is so lightly gained." (Hind, A History of Engraving and Etching, p. 144) This print was made two years after Nanteuil's appointment as portrait engraver to Louis XIV. It was largely due to Nanteuil's influence that the King granted the edict of 1660 by which engraving was pronounced free and distinct from the mechanical arts, and engravers were declared to be entitled to the privileges of other artists. Nanteuil engraved portraits of many distinguished personages, including the King, Cardinal Richelieu and Queen Christina of Sweden. Le Tellier became Secretary of State for War in 1643 and Chancellor of France in 1677. He played a major role in transforming the French army into a much larger and more professional force dependent on the King, and helped draft the revocation of the Edict of Nantes which had granted a large measure of religious freedom to Protestants. The previous owner paid $1800 US plus premium at auction in 2000. Adamczak 159. Pettijean & Wickert 64.
| $1200 USD | Book Number: MP16 | Order / Enquire |
OSTADE, Adriaen Van [1610-1685].
Village Romance.
1667?
etching. 165 x 126 mm. signed 'Av. Ostade' in the plate. A good impression on laid, trimmed inside plate mark but outside neat line (thinning of paper in lower left corner). Provenance: rubberstamp on verso of the Kupferstich-Sammlung Der Konigl. Museen in Berlin. Tenth State (of 12). Van Ostade was a prolific Dutch Golden Age painter and etcher best known for his genre scenes of peasant life. He was born in Haarlem and probably trained with Frans Hals along with Adriaen Brouwer, whose style strongly influenced his own. "The greatness of Ostade lies in how often he caught the poetic side of the peasant class in spite of its ugliness, and stunted form and misshapen features. He did so by giving their vulgar sports, their quarrels, even their quieter moods of enjoyment, the magic light of the sungleam, and by clothing the wreck of cottages with gay vegetation." (Encyc. Britannica, 11th Edn.) Godefroy 11. Hollstein 11.
| $750 USD | Book Number: MP17 | Order / Enquire |
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