Return to Search Page

Total Books found 26
Next Last



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




[BOWLES, Thomas] [fl. 1700-1763] & [BOWLES, John] [1701-1779].
A View of the Taking of Quebec September 13th, 1759. Shewing the manner of debarking the English Forces, & of the resolute scrambling of the light Infantry.Also a view of the signal Victory obtained over the French regulars, Canadians and Indians, which produced the surrender of Quebec.[French title].
London: Printed for Robert Wilkinson No. 58 Cornhil & Bowles & Carver No. 69 St. Pauls Church Yard, [c1795]..
13 3/4 x 16 1/2 inches. original colour. engraving (several tears & small holes & margins discolouration with surface abrasions, professionally restored). Bowles' successors, Robert Wilkinson and Bowles & Carver re-issued A View of the Taking of Quebec (first issued circa 1760). Robert Wilkinson was active from 1785 to 1825 and Bowles & Carver published maps and prints from 1794-1832. cfJefferys, A Catalogue Of The Sigmund Samuel Collection, 362. cfSpendlove, The Face of Early Canada, p.10. cfWebster, Catalogue Of The John Clarence Webster Canadian Collection (Pictorial Section), 1387 (1797 Laurie & Whittle edition).
$1499 USD                          Book Number: sala21                         Order / Enquire



CALLOT, Jacques [1592-1635].
Vue du Louvre.
c1630.
etching. 159 x 337 (platemark) (sheet: 170 x 346 mm.). laid paper. signed 'Callot fec.' in the plate. Meaume's Fourth State (although our borders are wider than 3 mm.; we do not have access to Lieure). The view shows many boats on the Seine with the Louvre and Tuileries in the right background and the Tour of Nesle on the left. The Tour of Nesle, demolished in 1665, was a medieval watchtower on the left bank, guarding the upstream entrance to the city. Parisians crowd the banks. It has been suggested that the activities shown in the print were part of the celebrations welcoming King Louis XIII on his return from the siege of La Rochelle. It was probably drawn by Callot during his visit in 1629. Through his invention of a chip-resistant ground for copperplates and his skill in making repeated bitings of a single plate, the great French Baroque printmaker greatly improved the technical and the aesthetic possibilities of etching. He produced more than 1,400 finely detailed etchings, his subjects ranging from soldiers, clowns, drunkards, dwarves and beggars to court life, landscapes and religious scenes. "No one ever possessed in a higher degree the talent for grouping a large number of figures in a small space, and of representing with two or three bold strokes the expression, action and peculiar features of each individual. Freedom, variety and naïveté characterize all his pieces. His Fairs, his Miseries of War, his Sieges, his Temptation of St. Anthony and his Conversion of St. Paul are the best-known of his plates." (Encyc. Britannica, 11th Edn.) Lieure 667. Meaume 713. Russell 18.
$1200 USD    Book Number: MP5         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




DYCK, Anthony Van [1599-1641] & Jacob NEEFS [1610-c1661].
Portrait of Flemish painter Frans Snyders [1579-1657].
1630.
etching & engraving. 248 x 153 mm. (image) with 7 mm. borders. signed in the plate. A good impression on watermarked laid paper (short tear to bottom edge just entering image, 4 short mounting strips on top verso). Fourth State (of 5). From Van Dyck's Iconography, a large series of prints with half-length portraits of eminent contemporaries. This is one of only eighteen of the portraits for which Van Dyck himself etched the heads and main outlines of the figure, with the rest left for an engraver to finish (the others were engraved by others after his drawings). "Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art." (Hind, A History of Engraving and Etching, p. 165) "The enduring fame of van Dyck rests on his portraits. Whether he painted the patricians and artists of Antwerp, the nobles of Genoa, or the court of Charles I, van Dyck succeeded in idealizing his models without sacrificing any of their individuality. He adopted patterns of portraiture that had been formulated before, chiefly by Hans Holbein, Antonio Moro, Titian, and Rubens, but he invented innumerable variations, never losing sight of the fundamental necessity to retain an impeccable formality no matter how exact the likeness." (Encyc. Britannica) 'He painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years." (Wikipedia) Hollstein 11.
$750 USD    Book Number: MP9         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



HOUBRAKEN, Jacobus [1698-1780].
Portrait of English statesman William Cecil, First Baron Burleigh [Burghley] [1520-1598].
London: J. & P. Knapton, 1738.
copper engraving. 474 x 235 mm. (plate) (sheet: 414 x 257 mm.). signed & dated in the plate. A good impression on slightly thick laid paper (margins foxed). Burghley was chief advisor to Queen Elizabeth I for most of her reign, twice Secretary of State (1550-53 and 1558-72), and Lord High Treasurer from 1572. This portrait is from Thomas Birch's 'The Heads of Illustrious Persons of Great Britain' (1743-52). Houbraken was the leading portrait engraver in 18th century Holland.
$250 USD    Book Number: MP13         Order / Enquire



Next Last

Warning: mysql_free_result(): 8 is not a valid MySQL result resource in E:\web\delakeco\cat-ssrch.php on line 193