Art

Old Master Drawing, Flemish School, Portrait or Sketch of a standing young boy. Condition : see photos The drawing is on paper.

Barbara Regina Dietzsch, 1706-1783 White Primrose, Japanese Quince, a Beetle, and a Butterfly, ca. 1730 Opaque watercolor painting inscribed on...

circa 1750. Gouache and ink with heightening in gold on brown laid paper, 12 1/2 x 8 1/4 inches (317 x 210 mm), with a floral-motif border painted in blue and gold, the full sheet. With extensive inscriptions in Persian written in black ink on the verso. In good condition with extraordinary color. We see Empress Nur Jahan making an offering to a sage in his hut, as Emperor Jahangir looks on from a tree stand. Nur Jahan was fond of hunting and often went on hunting tours with her husband and was known for her boldness in hunting ferocious tigers. She is reported to have slain four tigers with six bullets during one hunt. According to Sir Syed Ahmad Khan this feat, inspired a poet to declaim a spontaneous couplet in her honor: "Though Nur Jahan be in form a woman, In the ranks of men she...

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....

Antique Italian painting from the second half of the 17th century. Oil on canvas artwork depicting a portrait of an old lady, The widow of the pharmacist from Trento, of good pictori...

Gabriele Bella (Venice 1730 – Venice 1799) attributed View of Venice with the Guglie bridge (or the Cannaregio bridge, as it was formerly called) circa 1750/60 oil on canvas, ...

Amazing painting of Cleopatra oil on canvas with a gilt wood frame. Attributed to Giuseppe Diamantini (Fossombrone 1621-Venice 1705) The dramatic subje...

18th-Century Still Life Painting – Classical Fruit Composition Artist: Unidentified Period: 18th Century Medium: Oil on Canvas Dimensions: Framed: 54 x 74 cm Artwork: 35 x 54 cm Sty...

This rare drawing by Nattier is part of a set of preparatory studies executed in 1717 for one of the painter's first commissions, the painting commissioned by Tsar Peter I of Russia ...

Hand-carved, oak statue of a putto holding a flowing tapestry and a shield mounted on a custom, Lucite base.

Oil on canvas Image size: 14 1/4 x 18 inches (36 x 45.7 cm) Period gilt frame In this painting the bright moon, partially obscured by mounting dark clouds, dramatically lights the l...

Up for sale is a phenomenal Antique “Dutch School” original oil painting on canvas, depicting a genre scene. "By A. Van Ostade" - written on the back of the canvas (Ostade was a Du...

We have the full series of 52 prints (including title page) from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below i...

The Hunchbacked Fiddler (3rd State), 1654 Etching 266 x 113 mm.; 6 1/2 x 4 7/16 inches Watermark: Fleur-de-lys in a Crowned Shield References: Godefroy 44 III/VI Hollstein 44 III/VI Pelletier, Adrian van Ostade...

Georg Philipp I RUGENDAS (1666-1742) Frederick I of Prussia Red chalk, ink and brown wash on paper 45x42 cm This drawing has been long considered representative of Charles VI. In r...

A romantic late 18th-century pastel portrait, attributed to the German portraitist Johann Heinrich Wilhelm Tischbein (1751-1829). Exquisitely presented in its original giltwood frame...

An 18th century engraved portrait of William Harvey, MD by Jacobus Houbraken after a painting by Wilhem von Bemmel, from "The Heads of Illustrious Pers...

English School, (circa 1600) Portrait of William Herbert, 3rd Earl of Pembroke Oil on panel, oval Image size: 29¼ x 23⅞ inches Painted wooden frame Provenance: 176, Collection of Francis Greville, 1st Earl of Warwick. The Trustees of the Lord Brooks’ Settlement, (removed from Warwick Castle). Sotheby’s, London, 22nd March 1968, lot 81. Painted onto wooden panel, this portrait shows a dark haired gentleman in profile sporting an open white shirt. On top of this garments is a richly detailed black cloak, decorated with gold thread and lined with a sumptuous crimson lining. With the red silk inside it’s all very expensive and would fall under sumptuary laws – so this is a nobleman of high degree. It’s melancholic air conforms to the contemporary popularity of this very human condition, evident in fashionable poetry and music of the period. In comparison to our own modern prejudices, melancholy was associated with creativity in this period. This portrait appeared in the earliest described list of pictures of Warwick castle dating to 1762. Compiled by collector and antiquary Sir William Musgrave ‘taken from the information of Lord & Lady Warwick’ (Add. MSS, 5726 fol. 3) is described; ‘8. Earl of Essex – an original by Zuccharo – seen in profile with black hair. Holding a black robe across his breast with his right hand.’ As tempting as it is to imagine that this is a portrait of Robert Devereux, the 2nd Earl Essex, we might take this with a pinch of salt. Its identification with this romantic and fatal Elizabethan might well have been an attempt to add romance to Warwick Castle’s walls. It doesn’t correspond all that well with Essex’s portraits around 1600 after his return from Cadiz. Notably, this picture was presumably hung not too far away from the castle’s two portraits of Queen Elizabeth I. The first, and undoubtedly the best, being the exquisite coronation portrait that was sold by Lord Brooke in the late 1970s and now hangs in the National Portrait Gallery. The second, described as being ‘a copy from the original at Ld Hydes’, has yet to resurface. The portrait eventually ended up being hung in the State Bedroom of Warwick Castle. Archival documents present one other interesting candidate. The Greville family’s earliest inventory of paintings, made in 1630 at their home Brooke House in Holborn, London, describes five portraits of identified figures. All five belonged to the courtier, politician and poet Sir Fulke Greville (1554-1628), 1st Baron Brooke, and were hung in the ‘Gallerie’ of Brooke House behind yellow curtains. One of them was described as being of ‘Lord of Pembrooke’, which is likely to have been William Herbert (1580-1630), 3rd Earl of Pembroke. William was the eldest son of Greville’s best friend’s sister Mary Sidney, and was brought up in the particularly literary and poetically orientated household which his mother had supported. Notably, the 3rd Earl was one of the figures that Shakespeare’s first folio was dedicated to in 1623. The melancholic air to the portrait corresponds to William’s own pretensions as a learned and poetic figure. The richness of the robe in the painting, sporting golden thread and a spotted black fabric, is indicative of wealth beyond that of a simple poet or actor. The portrait’s dating to around the year 1600 might have coincided with William’s father death and his own rise to the Pembroke Earldom. This period of his life too was imbued with personal sadness, as an illicit affair with a Mary Fitton had resulted in a pregnancy and eventual banishment by Elizabeth I to Wilton after a short spell in Fleet Prison. His illegitimate son died shortly after being born. Despite being a close follower of the Earl of Essex, William had side-stepped supporting Devereux in the fatal uprising against the Queen and eventually regained favour at the court of the next monarch James I. His linen shirt is edged with a delicate border of lace and his black cloak is lined on the inside with sumptuous scarlet and richly decorated on the outside with gold braid and a pattern of embroidered black spots. Despite the richness of his clothes, William Herbert has been presented in a dishevelled state of semi-undress, his shirt unlaced far down his chest with the ties lying limply over his hand, indicating that he is in a state of distracted detachment. It has been suggested that the fashion for melancholy was rooted in an increase in self-consciousness and introspective reflection during the late 16th and early 17th centuries. In contemporary literature melancholy was said to be caused by a plenitude of the melancholy humor, one of the four vital humors, which were thought to regulate the functions of the body. An abundance of the melancholia humor was associated with a heightened creativity and intellectual ability and hence melancholy was linked to the notion of genius, as reflected in the work of the Oxford scholar Robert Burton, who in his work ‘The Anatomy of Melancholy’, described the Malcontent as ‘of all others [the]… most witty, [who] causeth many times divine ravishment, and a kind of enthusiamus… which stirreth them up to be excellent Philosophers, Poets and Prophets.’ (R. Burton, The Anatomy of Melancholy, London, 1621 in R. Strong, ‘Elizabethan Malady: Melancholy in Elizabethan and Jacobean Portraits’, Apollo, LXXIX, 1964). Melancholy was viewed as a highly fashionable affliction under Elizabeth I, and her successor James I, and a dejected demeanour was adopted by wealthy young men, often presenting themselves as scholars or despondent lovers, as reflected in the portraiture and literature from this period. Although the sitter in this portrait is, as yet, unidentified, it seems probable that he was a nobleman with literary or artistic ambitions, following in the same vain as such famous figures as the aristocratic poet and dramatist, Edward de Vere...

Four 18th Century Optical views "Vue des Rives de la Seine prise du Pont Neuf à Paris" "Vue de la Place de l'Hôtel de Ville et du Phare à Calais" "Vue de Paris prise du Port de la Co...

Parrot, Snake, Lizard and Ducks, 17th Century Genoese School Fine Large 17th Century Italian Old Master from the Genoese School of a parrot, ducks a lizard and snake, oil on canva...

'Magone Cartaginese' (Magone of Carthage) Copper-line engraving by Pazzi after Giovanni Domenico Campiglia. Plate number top right corner of image. Giovanni Domenico Campiglia (1692–1768) was an Italian painter and engraver from Florence, active under the patronage of the House of Medici. Illustration of an Ancient Roman marble bust from 'Musei Capitolini', a series of engravings showing the sculpture of the Capitoline Museum in Rome. Mago I, also known as Magon, was the king of the Ancient Carthage...

Georges Braque Frontispiece, from La Nuit, La Faim (The Night, The Hunger), 1960 is an abstract work which takes inspiration from a poem by Georges Riebmont-Dessaignes. Georges Riebm...

PAIR OF FLORENTINE PIETRA DURA PLAQUES WITH BIRDS IN GILT BRONZE FRAME Florence, 18 Century Pietra dura, gilt bronze frame 7.5 x 11.5 cm (3 x 4 1/2 in) without frame 11.4 x 15.5 cm ...

Olio su tela. Scuola italiana del XVII secolo. La grande composizione presenta una varietà di alimenti su un tavolo di cucina: a sinistra un grande canestro di vimini pieno di ortag...

Francesco Piranesi (Italian, 1758-1810) Topographical Map of Pompeii Originally executed 1785, modern reprint (likely 20th Century) Engraving Framed: 4...

Antique Italian painting from the second half of the 17th century. Oil on canvas artwork depicting a splendid bucolic landscape with animals and a shepherd, of great pictorial qualit...

This widely referenced pair of paintings is one of Francesco Conti’s most successful productions. Francesco Conti is one of the finest painters of 18th-century Florence. In the shimmering colors typical of his best work, he represents two opposite characters from the Bible: the virtuous Judith, whose courage saves her people by cutting off the head of the invader Holofernes, and the depraved Salome, who under the influence of her mother becomes responsible for the beheading of the prophet John the Baptist. The artist's talent lies in his ability to treat these two macabre subjects with a light touch, presenting us with two attractive women who seem to twirl with glee amidst the severed heads... 1. Francesco Conti, the “Florentine Tiepolo” Francesco Conti is a major painter of the Florentine school of the 18th century; he can even probably be considered, along with Giovanni Domenico Ferretti (1692-1768), as one of the two main painters of the second quarter of the Florentine 18th century. Born in Florence in 1682, Francesco Conti began his apprenticeship in the workshop of Simone Pignoni (1611 - 1698), a disciple of Francesco Furini; he was also influenced by the Venetian Sebastiano Ricci. A protégé of Marquis Riccardi, he accompanied him to Rome between 1699 and 1705, where he frequented Carlo Maratta's studio. He settled permanently in Florence in 1705. Painted exclusively on canvas, the majority of his work consists of religious subjects, altarpieces or private devotional works. It is likely that Conti himself was a devout churchgoer, as evidenced by his affiliation, in the third decade of the eighteenth century, to the Society of the Disciples of Saint-John-the-Baptist, and his entry, at the end of his life, into the fraternity of the Venerable Society of the Holy Trinity. In Florence, Conti worked for the Grand Duchy's major patrons, including the last Medici - in particular Giangastone and Annamaria Luisa, Electress Palatine - and confirmed his role as a reference painter under the Lorraine Regency, as master of the Public Drawing School, which was closely linked to the institute responsible for the manufacture of semi-precious stone mosaics, then located in the Uffizi complex. Matteo Marangoni, an art critic of the early 20th century, praised his "brushwork full of elegance and true spirit of the 18th century", pointing out that Conti was "probably one of the best colorists" of the Florentine school of his time. These two characteristics led the art historian Paolo dal Poggetto to nickname him the "Florentine Tiepolo". 2. Judith and Salome, two biblical characters opposing each other These two paintings form a pair presenting two biblical episodes, which have in common the depiction of a "heroine" carrying the severed head of a man. While the Salome episode might at first appear to be an echo of the Old Testament story of Judith, each character is the exact opposite of the other. Judith, whose story is told in the Book of Judith, is a beautiful young widow from Bethulia who, accompanied by her maid, went into the camp of the invading Assyrians and won the confidence of Holofernes, the general commanding the enemy army. Invited to a great feast on the fourth evening, she took advantage of Holofernes' drunkenness to cut off his head. “She went up to the bedpost near Holofernes’ head, and took down his sword that hung there. She came close to his bed, took hold of the hair of his head, and said, “Give me strength today, O Lord God of Israel!” Then she struck his neck twice with all her might, and cut off his head. Next she rolled his body off the bed and pulled down the canopy from the posts. Soon afterward she went out and gave Holofernes’ head to her maid, who placed it in her food bag...

Still Life Of Grapes In The Vineyard, 17th Century Pierre Antoine Lemoyne (French 1605-1665) similar to $250,000 Huge 17th Century French Old Master study of grapes in the vineyard, oil on canvas by Pierre Antoine Lemoyne. Excellent quality and condition study of the vines and grapes growing before a rustic building. Exceptional detail and rare early work of art on the subject of wine making...

Portrait Of Maurice Of Nassau, Prince of Orange, 17th Century studio of Michiel Jansz Van Mierevelt (1566-1641) 17th Century Portrait of Maurice ...

This is an early 18th century hand-colored copperplate engraving of the anatomy of lemons by Johann Christoph Volkhamer, entitled "Limon Peretto" from his publication "Nurmbergische ...

18th-Century Romantic Landscape Painting – Alpine Scene Artist: Unidentified Period: 18th Century Medium: Oil on Canvas Dimensions: Framed: 38 x 52 cm Artwork: 29 x 41 cm Style: Rom...

London: Allen & West, 1797. Engraving with hand coloring in watercolor on cream wove paper, 8 1/8 x 10 5/8 inches (213 x 270 mm), wide margins. Scattered toning, mat tone, and dog-e...

Sir Thomas Lawrence PRA 1769-1830 Portrait of a Young Officer Pastel with touches of black chalk on paper Signed and inscribed on an old label verso: "Be pleased to keep away / from the Damp & from dust / T Lawrence AE 13. / 1783." Wash mount and gilt frame Provenance W.E. Spooner; Anonymous sale, Phillips London, 17 April 2000 lot 196 Sothebys, Old Master & Early British Paintings, 14 April 2011 • London Lot 246 Old label verso describes how this was drawn in 1783 at the age of 14! This is a portrait of an officer from the Irish Volunteers. The Irish Volunteers was a part-time military force raised by local initiative in Ireland in 1778. Their original purpose was to guard against invasion and to preserve law and order at a time when British soldiers were withdrawn from Ireland to fight abroad during the American Revolutionary War. As a young boy Thomas Lawrence lived with his parents who ran a coaching inn near Bath. Clearly talented from this young age, he drew the passing travellers who stopped at the inn and this soldier may have been one such sitter. Lawrence was only 13 years old when he drew this work. To capitalise upon their son's talents, the family later moved to Bath and sent Lawrence to London in 1787 where he entered the Royal Academy schools at the earliest possible age. Works from such an early period of Lawrence's creativity are rarely to be found today. This rare early portrait drawn in Bath shows the level of technical skill that Lawrence had reached at 14 years old. His use of colour and tone to depict flesh and all the subtle variations in the texture and pigmentation of his sitter’s face, powdered hair and clothes show how Lawrence conceived pastel as a form of painting and partly explains how he could have made the smooth transition to oil painting so soon afterwards. When he arrived in Bath from Devizes in 1780, eleven-year-old Thomas Lawrence (1769–1830) was promoted as a natural-born genius like his Renaissance predecessor Raphael. The local press announced the arrival of the boy wonder and his ‘Striking Sketches’, inviting the ‘Nobility and Gentry’ to sit for their portraits. Thomas Lawrence was a prodigious portraitist from the age of just eight, when he began to draw his first portraits in pencil...

Le Chat Domestique is an etching realized by Jean Charles Baquoy in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabin...

Les Bergers Romains Copper-line engraving by Jean Jacques Leveau (1729-1786) after Pierre Mettay (1728-1759). C1755. Proof, before lettering. Laid, watermarked paper. A landscap...

This framed hand colored stipple engraving and etching portrait of William Warham, Archbishop of Canterbury under King Henry VII and his son King Henry VIII was created by Francesco Bartolozzi (1728–1815) after a drawing and a painting by Hans Holbein (1497-1543), who was Henry VIII's court painter. The print was published in London by John Chamberlaine in 1795. The print was created utilizing stipple engraving and etching techniques by the Italian artist Francesco Bartolozzi, who was employed as the royal engraver by King George III of England. The publisher, John Chamberlaine, was Keeper of the King's Drawings and Medals. The inscription beneath the portrait reads" "In His Majesty's Collection", "Engraved by F. Bartolozzi R A Historical Engraver to His Majesty'' in the lower right, and ''From an original drawing by Hans Holbien'' in the lower left. The original painting by Holbein is displayed at Lambeth Castle and the original drawing is in the art collection at Windsor Castle. The engraving is held by many museums, including: The British Museum, The Metropolitan Museum of Art, The National Portrait Gallery, The Chicago Art Institute and The Fine Arts Museums of San Francisco. This portrait depicts Archbishop William Warham facing to his right, wearing a black cap covering his ears and fur trimmed clerical robes. The print is presented in a decorative gold-colored wood frame with a blue-grey fabric mat. The frame measures 26.5" x 20.13" x 1". The print is in excellent condition. William Warham (1450-1532) was the last of the pre-Reformation archbishops of Canterbury, serving under King Henry VII and then under King Henry VIII. He was a quiet, unassuming intellectual whose career ended with a strong and brave stance against the divorce of King Henry VIII and the king's resultant withdrawal of England from the Catholic church and his draconian actions against the clergy. As Lord Chancellor...

Etching from the series titled "A Harlots Progress" by William Hogarth. The series consists of six paintings and engravings. The story is about a woman named M. Hackabout who arrived in London and started working as a prostitute. The third plate is of her getting arrest for her choice in profession. The series is a satirical story that emphasizes the dangers of being a prostitute and the health risks that come from it. In 18th century engraving, the detail of the black mole on women and men's face is a symbol of the deadly venereal disease, syphilis. In this plate, Hackabout has already contracted the disease and that is why the black dot is visible on her forehead as well as her madam's. In 1828, William Innell Clement published Harlot's Progress in columns on a single page of his newspaper Bell's Life in London #330. The detail with the cross seen in earlier reproductions of the engraving. Dimensions without Frame: H 14.5 in x W 16.5 in. Artist Biography: William Hogarth ( 10 November 1697 – 26 October 1764) was an English painter, printmaker, pictorial satirist, social critic, and editorial cartoonist. His work ranged from realistic portraiture to comic strip-like series of pictures called "modern moral subjects", perhaps best known to be his moral series A Harlot's Progress, A Rake's Progress and Marriage A...

Woodcut after Peter Paul Rubens (Siegen 1577-1640 Antwerp) Reference: Le Blanc 6 Hollstein 6 II/III Notes: 1. A very fine impression of the 2nd state (of three) of this majo...

This is an original antique colored botanical mezzotint and line engraving of flowering Gas Plants or Burning Bush and Fraxinella, which is finished with hand-coloring. It is entitle...

Thomas Smith of Derby Matlock High-Torr Landscape Oil on canvas 27 x 34.5 inches unframed 34 x 41.5 inches including frame Thomas Smith of Derby (died 12 September 1767) was an Engl...

Alca Torda (Razorbill) - John Gould lithograph with hand-coloured size 54 cm X 36 cm Good Condition FREE SHIPPING This remarkable ornithology l...

Pair of antique reverse glass paintings Continental, 18th Century Frame: Height 46cm, width 40cm, depth 3.5cm Glass: Height 38cm, width 32cm T...

Lithograph measures 38 x 26 inches. Good/Fair, slight creasing at bottom of lithograph.

This is a 17th century hand-colored map entitled "Insula Gaditana Isla de Cadiz" from Johannes (Joan) Blaeu's Atlas Maior, published in Amsterdam in 1662. The map provides an excellent plan of Cadiz Island on the southwest coast of Spain, with its harbor, fortifications, agricultural fields and several surrounding salt processing areas. Numerous sailing ships of various sizes are included in and around the harbor and bay, including five large sailing ships, as well as twenty-four smaller ships. There is a small compass rose overlying the bay. The bridge to the mainland from the island is shown on the right. There is an extremely ornate and colorful title cartouche in the lower left, with its mythological figures reminiscent of Raphael’s Galatea fresco at the Villa Farnesina in Rome. The vibrant colors are vividly preserved. The master colorist tried to emulate a painting by using various tones to create a three-dimensional effect.
 Blaeu's name is present in the plate in the lower right. Blaeu stated in his description of Cadiz: “The main wealth of the islanders consists of salt, which they harvest, and
 the tuna fisheries.” 
 This 17th century hand-colored map is framed in an ornate, partially textured bronze-colored wood frame and glazed with UV protected conservation glass. There is a vertical center fold, as issued. There is a faint crease in the lower right and faint color offset on the left from the right side of the map, resulting from having been in an atlas for hundreds of years. Small foci of paint are present in the upper portion of the left margin and in the left corner margin. The map is otherwise in very good condition. Due in large part to their powerful trade empire, the Dutch became known for cartography in the seventeenth century. This period is considered the Golden Age of Dutch cartography. Their publishing houses produced the highest quality work in Europe, particularly those maps and charts of foreign lands, and Dutch map-making set the bar for cartographic accuracy and artistry into the early-eighteenth century. Some of the most well-known cartographers worked in Amsterdam during this period. Perhaps the most famous of these was the Blaeu family. Willem Janszoon Blaeu, set up shop in Amsterdam. His son, Johannes (Joan), succeeded him upon his death in 1638, continuing in his father’s position as Hydrographer to the Dutch East India Company and selling maps to the public. The Blaeu map presses, located near Amsterdam’s Dam Square...

A stunning 18th century optical view of London from the Thames. London: 1760. Copper plate engraving with hand coloring in watercolor on cream laid paper with a large circular wate...

This old master engraving entitled "Allegorie op de Rechtspraak" is by Willem van Swaanenburg after a painting by Joachim Wtewael, published by Ch...

Oil on canvas Image size: 19 1/2 x 15 1/2 inches (49 x 39.5 cm) Original frame This is a a wonderful marine scene depicting a flotilla of battleships, warships and Admiralty yachts....

Letter L is an etching realized by Luigi Vanvitelli artist of 18th century. Good condtions. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original ti...

Fascinating limestone gargouille (or gargoyle) from the region of Avignon, France, dating from the 14th century. A rare and striking hand-carved piece that perfectly embodies the med...

Christ and John the Baptist, the Apostle Peter, and Saint Augustine of Hippo, triptych After Pinturicchio (1454-1513) Large Italian Renaissance triptych...

Etching on thin cream laid paper with a partial "M" or "W" watermark, 5 x 5 15/16 inches (126 x 150 mm), thread margins. Inscribed in the plate in the upper-right: “Antoni Waterlo fe...

Oil on Canvas. The large-scale scene is set outside a rocky fortress and features a garrison of soldiers preparing for battle: in the left foreground, by a tree, the group of mounted...

Oil on Canvas. Venetian school of the 17th century. The figures, portrayed in the half-length foreground, have Mary placed in the center holding the infant Jesus; behind them on the ...

Portrait Of Lady Francklin of Bedfordshire, 17th Century Studio of Sir Peter Lely (1618-1680) Fine 17th Century English portrait of Lady Fr...

Two botanical prints after Cornelis Bloemaert & Vincenzo Leonardi "Lemon", from Hesperides. Reproductive print on thick C.M. Fabriano cotton wove paper; and Pierre Joseph Buchot (17...

Letter of the Alphabet I, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century. Good conditions. The etching belon...

The Circulatory System is a original etching realized as plate no. 124 of Andrea Vesalio's "De Humani Corporis Fabrica". The "De Humani Corporis Fabrica is commonly considered a m...

With King's Privilege is an Original Etching (chez Huquier) realized by Pierre Charles Trémolières (1703-1739 Paris). The artwork is in good condition on a yellowed paper, included ...