Early 17th Century Art

Pair of bookend sculptures. Venice, 17th century. 15 x 15 x h 29 cm. Entirely in finely carved wood. - This item is sold with a certificate of authenticity with legal validity. -...

The Horse is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Image Dimensions: 5 x 7 / 8 x 10 cm. Not signed....

This evocative Veronese School painting captures the moment in the Garden of Gethsemane when Christ, overwhelmed with sorrow, prays to God before his arrest and crucifixion. Supporte...

Oil on oak panel Image size: 18 x 17 inches (45.5 x 43.5 cm) Period style frame This painting is a half-length portrait of a lady in the guise of a shepherdess. She is holding a ho...

The Horse is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Image Dimensions: 5 x 7 / 8 x 10 cm. Not signed....

GIOVANNI FRANCESCO BARBIERI, known as GUERCINO (1591-1666) Leaning Nude Man (recto); Kneeling Man, Hands Tied Behind His Back (verso) Black chalk heightened with white on light blu...

Braun G., Hogenberg F., "Vienna", from the collection "Civitates Orbis Terrarum", Cologne, T. Graminaeus, 1572-1617. Image Dim: cm 15 x 47, Dim: cm 20 x 53. Wonderful B/W Aquatint r...

Goat is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions. Including a cream-colored cardboard passepartout, 34 x 50 cm. An exciting original print, with all the dignity of a mythological or epic story, represented with an incredible balance of black and white, light and shadow, and a typical Baroque dynamism. Antonio Tempesta, also known as Il Tempestino (Florence, 1555 - Rome, 1630), was an Italian painter and engraver of the early Baroque period. Antonio Tempesta trained in the culture of late Mannerism, with a naturalistic but also calligraphic taste, acquired from the frequentation of Giovanni Stradano, with whom he collaborated in the decoration of Palazzo Vecchio. Moving to Rome in 1573, he worked for Pope Gregory XIII, frescoing some maps of Rome in the Vatican, including the famous Map of Rome (1593). In the pontifical capital, he worked for many noble families and for important cardinals, such as Alessandro Farnese and Scipione Borghese. His works are in San Giovanni dei Fiorentini, at the villa in Caprarola, in Tivoli. He returned to Florence for a brief stay, where he collaborated with Alessandro Allori...

Dog is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions. Including a crea...

Frans Francken the Younger 1581 - Antwerp - 1642 Flemish Painter 'The Departure of the Israelites from Egypt – The Exodus', c. 1610 - 1620 Medium: pen in sepia on paper Dimensions: mage size 26 x 34,5 cm, frame size 55 x 65,5 cm Biography: Frans Francken the Younger, born in Antwerp in 1581 and passing away on May 6, 1642, also in Antwerp, was a distinguished Flemish painter. He is recognized as the most prominent and productive member of the renowned Francken family of artists. Francken explored a wide range of subjects, creating large altarpieces for churches and producing smaller works depicting historical, mythological, and allegorical scenes. Notably, his depictions of collectors’ cabinets established a popular new genre of art during his era. He was known for collaborating with other artists, enriching their works with his skilled renderings of figures and narrative elements, complementing specialists in landscape, architectural scenes, and floral still-life painting. Francken was born to Frans Francken the Elder and Elisabeth Mertens. His father was a pupil of Antwerp’s leading history painter, Frans Floris, and a significant creator of altarpieces in Flanders during his time. Francken received his artistic training under the guidance of his father. Additionally, it is possible that Frans and his brother, Hieronymus Francken II, received further instruction in the workshop of their uncle, Hieronymus Francken I, in Paris. A versatile artist, Francken made significant contributions to various genres within Flemish art, introducing new themes and subjects. Many of his works comprised small-scale historical, allegorical, and biblical cabinet paintings, often emphasizing figures. He is credited with either inventing or popularizing several novel themes that gained popularity in Flemish painting, including genre scenes featuring monkeys (also known as singeries) and Kunstkammer or gallery paintings, presenting a plethora of natural and artistic treasures against a neutral wall. Francken introduced various other unconventional themes that later gained traction, such as the ‘Triumphal Procession of Amphitrite’ and ‘Croesus and Solon.’ He also produced a series of paintings depicting witches and witchcraft, including portrayals of witches’ sabbats. His remarkable paintings are held in the collections of numerous major museums throughout Europe. Francken specialized in rendering the human figure, as evidenced by etched and engraved portraits of the artist by Anthony van Dyck (after Peter Paul Rubens), identifying him with the Latin inscription: ‘ANTVERIÆ PICTOR HVMANARVM FIGVRARVM’ (Figure painter of Antwerp). He was frequently invited to contribute figures to compositions by other esteemed artists, including landscape artists such as Tobias Verhaecht, Abraham Govaerts, and Joos de Momper...

LANDSCAPE WITH FLIGHT TO EGYPT, JASPER VAN DER LANEN (ANTWERP, 1585 - 1634) 17TH CENTURY FLEMISH SCHOOL ANTWERP CIRCA 1630 Oil on copper, dimensions: h. 10.23 in, w. 14.96 in Flemish style frame in ebonized wood adorned with wavy moldings and wood veneer. Framed dimensions: h. 17.32 in, w. 21.65 in Provenance: Philips auction...

Flemish school from the beginning of the 17th century (Circle of Martin DE VOS) Drawing Pen and wash 38 x 32 cm (58 x 52 cm with the frame) Inscription "Martin de Vos" Excellent cond...

Franz Werner Von Tamm known as Monsieur Daparait (Hamburg 1658-Vienna 1754) Attributed to Still life of fruit with lizard Oil on canvas, 58 x 74 cm. Framed 76 x 92 cm. This magnifi...

Oil on oak panel, inscribed top left ‘AETATIS SUAE 32’ Image size: 27 x 35 inches (68.5 x 89 cm) Contemporary style handmade frame This is a portrait of a medical figure from the ea...

Figure Studies Attriubted to Cornelis Schut (1597 - 1655) Flemish ink drawing on paper, inscribed on mount size: 4.75 x 7 inches private collection, France The painting is in overa...

Portrait of a Gentleman wearing white lace trim collar Flemish School, circa 1630's circle of Anthony van Dyck (Flemish 1599-1641) oil on canvas, unframed Canvas: 30.5 x 25 inches Pr...

Frans Francken the Younger 1581 - Antwerp - 1642 Flemish Painter 'The Departure of the Israelites from Egypt – The Exodus', c. 1610 - 1620 Medium: pen in sepia on paper Dimensions: mage size 26 x 34,5 cm, frame size 55 x 65,5 cm Biography: Frans Francken the Younger, born in Antwerp in 1581 and passing away on May 6, 1642, also in Antwerp, was a distinguished Flemish painter. He is recognized as the most prominent and productive member of the renowned Francken family of artists. Francken explored a wide range of subjects, creating large altarpieces for churches and producing smaller works depicting historical, mythological, and allegorical scenes. Notably, his depictions of collectors’ cabinets established a popular new genre of art during his era. He was known for collaborating with other artists, enriching their works with his skilled renderings of figures and narrative elements, complementing specialists in landscape, architectural scenes, and floral still-life painting. Francken was born to Frans Francken the Elder and Elisabeth Mertens. His father was a pupil of Antwerp’s leading history painter, Frans Floris, and a significant creator of altarpieces in Flanders during his time. Francken received his artistic training under the guidance of his father. Additionally, it is possible that Frans and his brother, Hieronymus Francken II, received further instruction in the workshop of their uncle, Hieronymus Francken I, in Paris. A versatile artist, Francken made significant contributions to various genres within Flemish art, introducing new themes and subjects. Many of his works comprised small-scale historical, allegorical, and biblical cabinet paintings, often emphasizing figures. He is credited with either inventing or popularizing several novel themes that gained popularity in Flemish painting, including genre scenes featuring monkeys (also known as singeries) and Kunstkammer or gallery paintings, presenting a plethora of natural and artistic treasures against a neutral wall. Francken introduced various other unconventional themes that later gained traction, such as the ‘Triumphal Procession of Amphitrite’ and ‘Croesus and Solon.’ He also produced a series of paintings depicting witches and witchcraft, including portrayals of witches’ sabbats. His remarkable paintings are held in the collections of numerous major museums throughout Europe. Francken specialized in rendering the human figure, as evidenced by etched and engraved portraits of the artist by Anthony van Dyck (after Peter Paul Rubens), identifying him with the Latin inscription: ‘ANTVERIÆ PICTOR HVMANARVM FIGVRARVM’ (Figure painter of Antwerp). He was frequently invited to contribute figures to compositions by other esteemed artists, including landscape artists such as Tobias Verhaecht, Abraham Govaerts, and Joos de Momper...

Dog is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In good conditions. Including a cream-colored cardboard passepartout, 34 x 50 cm. An exciting original print, with all the dignity of a mythological or epic story, represented with an incredible balance of black and white, light and shadow, and a typical Baroque dynamism. Antonio Tempesta, also known as Il Tempestino (Florence, 1555 - Rome, 1630), was an Italian painter and engraver of the early Baroque period. Antonio Tempesta trained in the culture of late Mannerism, with a naturalistic but also calligraphic taste, acquired from the frequentation of Giovanni Stradano, with whom he collaborated in the decoration of Palazzo Vecchio. Moving to Rome in 1573, he worked for Pope Gregory XIII, frescoing some maps of Rome in the Vatican, including the famous Map of Rome (1593). In the pontifical capital, he worked for many noble families and for important cardinals, such as Alessandro Farnese and Scipione Borghese. His works are in San Giovanni dei Fiorentini, at the villa in Caprarola, in Tivoli. He returned to Florence for a brief stay, where he collaborated with Alessandro Allori...

Circle of Cornelius Johnson Circa 1620’s Portrait of a Officer Oil on canvas Image size: 28 x 24 inches Period style hand made frame Provenance Private European Estate This striking portrait dates to around 1620, as you can see from the images of the sash the detail is very high. The sash is decorated with gold thread and would have cost a small fortune at the time. Sashes were originally developed for a military function (making officers more visible for their men during combat), but soon became a primarily male fashion...

Jacques Callot (1592-1635), The Bohemians, the set of four etchings touched with burin, 1621. Reference: Lieure 374 (second state of four); Lieure 375-77 (second state of two). In ve...

Giulio Carpioni (Venice 1613 - Vicenza 1678) workshop of - Moses makes water flow from the rocks. 82 x 68 cm without frame, 97 x 83 cm with frame. Oil on canvas, in wooden frame. ...

Guglielmo Caccia said the Moncalvo (Montabone, 1568 - Moncalvo, 1625) Saint Francis of Assisi comforted by an angel Oil on canvas, cm 96 x 73 - (wi...

"La Tempete" is an original etching by Claude Lorrain (Claude Gellee). This is Claude's earliest dated etching (1630). The work depicts a storm-tossed sea with ships on the verge of ...

The figure of the Magdalene emerges from the darkness, leaning to follow the curve of the stone support; it is depicted vaulted with an interrogative air towards the dark, as if in an attitude of listening, the left hand raised and the other leaning on the "memento mori" very shortened. In front of her a scourge and the jar of ointment. Painted en pendant, Saint John the Baptist is depicted as a young man, with a lamb at his feet, in his hand the processional cross with the banner "exception agnus dei", while with his right hand he draws from the source of water, recalling the episode that will see Jesus Christ baptized. In both paintings the figures stand out in a strong and incisive way thanks to the black that characterizes the slate plate on which they are depicted. Historical-critical analysis: We are faced with two examples of oil painting on stone. The beginnings of this particular technique are to be placed in the first half of the sixteenth century: after some fifteenth-century experiments it is with Sebastiano del Piombo that the genre takes hold in the sixteenth century. There were different types of support used, also linked to their availability: amethyst, marble in various colors, alabaster and blackboard. The reasons underlying this technical choice refer to Renaissance artistic theories: it is no coincidence that the painter who most often experimented with oil painting on marble...

The Peruvian Chancay (pre-Columbian) Mummy Bundle mask, from around 1600 is made of painted wood, textiles, and human hair. According to the Walters Art Museum: Andean cultures are ...

Giovan Battista Discepoli, also called the "Zoppo from Lugano" [Castagnola (Lugano), Switzerland, 1590 - Lugano, Switzerland, 1654] Title: Coronation of Thorns Medium: Oil on panel D...

Cavaliere Paolo Guidotti, also known as il Cavalier Borghese (Lucca, Italy, 1559 - 1629) Title: Salomé and the Baptist Medium: Oil on canvas Dimensions: without frame 90 x 68.5 cm -...

Josep Maria Riera i Aragó (Barcelona, 1954), is a Spanish plastic artist. He studied at the Faculty of Fine Arts in Barcelona. Throughout his career he has dedicated himself to scul...

Pair of bookend sculptures. Venice, 17th century. 15 x 15 x h 29 cm. Entirely in finely carved wood. - This item is sold with a certificate of authenticity with legal validity. -...

The Horse is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. Image Dimensions: 5 x 7 / 8 x 10 c...

Dog is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions. Including a crea...

Dog is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions. Including a crea...

Saint Anthony The Abbot In A Natural Landscape. Flemish School, Late 16th - Early 17th Century Technique: Oil on panel Period: late 16th - Early 17th Century School: Flemish Dimensi...

Engraving on cream wove paper, 8 x 5 3/8 inches (203 x 137 mm), narrow to thread margins. First state (of 2). A fine impression with archival paper adhered at left top and bottom cor...

Allegory of summer, personified by Ceres Workshop of Hendrick Van Balen Antwerp School, early 17th century. Oil on copper, Dimensions: h. 52 cm, l. 40cm Antic giltwood frame Framed dimensions: h. 74 cm, l. 60cm Very good condition Our delicately painted work is part of the pictorial tradition that is both allegorical and mythological in vogue in Antwerp, whose leaders are Jan Brueghel the Younger and Hendrick Van Balen. Numerous works emerging from their workshops illustrate mythological subjects, the seasons, the elements, the senses or intertwining the lush landscapes, animals and gods of Olympus. At the heart of a green landscape dominated in its center by a generous apple tree, the beautiful Ceres, partially dressed in a large blue drape, is wearing a crown of ears of wheat, her symbol of the goddess of the earth and harvests. She holds the sickle in her right hand and carries sheaves of wheat. To her right a nymph holds the cornucopia while puttis pick and offer flowers. In the foreground are the summer fruits: figs, cherries, apples and lemons. A squirrel munching on cherries symbolizes toil and foresight, themes that are echoed in the work of the harvesters on the wheat fields in the background. The background is composed of vegetation, on the right a wild rose bush with its branches erect against a tree trunk, in the center of the trees with silvery green foliage. Our painter, a student of Hendrick Van Balen, finds his inspiration in the works of the master such as this nymph in yellow drapery seen from behind, one of the figures which accompanies many of the master's paintings. The elegant gestures, the flesh...The indisputable influence of Jan Brueghel the Younger is revealed in the treatment of trees and flowers, wild roses, tulips as well as in the still life with the squirrel in the foreground. The craze for this type of virtuoso painting where the mythological figures are only a pretext to better illustrate the landscape and plant species surrounding them, then generated orders from all over Europe. Hendrick Van Balen, Flemish painter, born and died in Antwerp (1575-1632). A student of Adam Van Noort, he entered the guild of Saint-Luc in 1593, later trained in Italy and was Van Dyck's first master. He often painted small characters taken from scenes from the Bible or classical mythology, on paintings in which Josse de Momper...

Pieter Symonsz Potter Dutch 1600 - 1652 Soldier in an Interior Oil on oak panel, red seal to reverse Image size: 15 x 10 3/4 inches Dutch Ebonised frame Bathed in a well lit roo...

Artista attivo in ambito lombardo nel primo quarto del XVII secolo Natura morta con frutti, verdure e vaso con fiori su un ripiano in pietra Olio su tela cm. 115 x 170 Studio del ...

The Prodigal Son Among Courtesans Attributed to Hieronymus Francken II (Antwerp 1578-1623) Early 17th century Antwerp school Oil on oak panel, Dimensions: H. 52.5 cm (20.67 in), W. 74 cm (29.14 in) Flemish-style moulded wood frame Frame: h. 78 cm (h. 30.70 in.), w. 100 cm (39.37 in.) At first glance, this festive and joyful painting depicts a group of elegantly dressed people dancing to the sound of an orchestra in a richly decorated interior with a wide opening onto a rural exterior. However, the real theme is cleverly concealed by the painter and is only discernible through the artifice of a small scene in the background where we see a half-naked man, in the company of the pigs next to a makeshift shelter. In fact, beyond the pleasant and apparently superficial character of the painting, it is a subject taken from the parable of the prodigal son in the Gospel. The illustrated episode is the prodigal son among courtesans. Even if the viewer's attention is drawn to the central couple (prodigal son embracing a pretty courtesan) doing the dance steps, the artist takes care in a narrative approach of all the groups and ancillary scenes in order to create a rich and varied composition. Thus the musicians seated on a raised platform are depicted with great skill, their faces animated, their clothes abundantly varied. The theme of music, which has always been associated with that of sensuality and physical love, helps to exacerbate licentious pleasures. The merry company dances "Spanish pavane", a slow court dance from the sixteenth century, danced close to the ground by couples arranged in a procession, which was probably introduced to the south of the Netherlands around 1600 during the governance of Albrecht VII and the daughter of the King of Spain Isabella Clara Eugenia in Brussels. The interior of the house is also carefully elaborated, the embossed leather dyes on the walls, the middle sideboard (typical in Francken interiors), where the rich gold and silver crockery is placed in front of the painting "Andromeda chained to the rock and Perseus arriving to rescue her". The inclusion of a contemporary and probably extant pictorial work is also one of the characteristics of the Francken family, among them Frans Francken the Younger...

Portrait of Girolamo Frescobaldi (1583-1643) Attributed to Antiveduto Della Grammatica (1571-1626) Oil on Canvas 1605-1609 Framed in a Nineteenth Century gild and composite frame 44....

A beautifully painted Baroque style oil on board portrait of a lady wearing an embroidered top with ruffled collar. Her bonnet edged in delicate lace. Dated 1619 on the top left fron...

Adoration of the shepherds, Cercle of Ambrosius Francken, Early 17th century Antwerp school Oil on oak panel: h. 55 cm, w. 43 cm (21.65 in x 16.93 in) 17th c. ebonized and moulded f...

Genesis 7 - Old Testament Story is an original Etching print realized by the artist Giovanni Lanfranco. About The Old Testament Story, 1607ca. Passpartout included 29 x 39 cm The ...

A charming scene with romping dogs and spectators watching the cascading water play a trick on an unsuspecting man who is sprayed as he descends the steps, ...

Rome: Giovanni Giacomo De Rossi, 1625. Etching and engraving on cream laid paper, 8 3/8 x 11 1/4 inches (222 x 286 mm), full margins. In good condition with some light yellow discol...

Louis de Caullery (1582-1621) Antwerp School early 17th century Oil on oak panel Dimensions: h. 51 cm (20.08 in), w. 43 cm (16.93 in) Ebonized wooden frame Framed: h. 67 cm (26.38 in...

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...

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

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...

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

Etching on hand made cream laid paper, 2 7/8 x 6 1/4 inches (72 x158 mm), 1/4 inch margins. In very good condition with minor edge wear. Adhered with adhesive along the left top shee...

Ascension Day in Venice 17th century Antwerp School Louis de Caullery (1582-1621) Oil on oak panel Dimensions: h. 12.8 in, w. 23.03 in (h. 32,5 cm, w. 58,5 c...

This beautiful and extremely rare early 17th century hand-colored copperplate engraving of four flowering Digitalis plants by the Dutch artist and botanist Emanuel Sweert is plate 6 ...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." John Speed (1551 or 1552 - 1629) Map of Cambridgeshire Engraving with later hand colouring 39 x 53 cm A beautifully coloured map of Cambridgeshire, with an antique description...

Italy : Venetian school of the 17th century Saint Jerome wit a Lion, circa 1620 Oil on panel Unsigned On wood board 49 x 30 cm Good condition, accidents/wear (see photos)

"Burn Scar (No. 4)" is a 16.5 x 23-inch work made with ink, paper, burnt branches, charcoal, and stucco on buried canvas. Katherine Filice uses scorched natural materials to tell a s...

Rome: Nicolas van Aelst, 1613. Engraving on cream laid paper with a foolscap watermark, 8 x 11 1/4 inches (203 x 282 mm), thread margins. Scattered expert repairs including minor pu...

This very rare, first edition, folio hand-colored engraving of an eagle is plate K2 from Ulisse Aldrovandi’s 'Opera Omnia', published between 1599 an...

Engraving on hand made laid paper, 8 1/2 x 5 7/8 inches (210 x 148 mm), thread margins. An approximately 1-inch vertical repaired tear extends into the image area at the top center ...

Chiaroscuro woodcut on cream laid paper, printed from three blocks in black, olive-green, and yellow ochre, 8 3/16 x 6 1/4 inches (207 x 157 mm), thread margins. Some scattered light discoloration throughout, lightly backed with laid paper, however the sheet retains translucence when viewed through raking light. Trimmed at or near the margin. Archivally sound small repaired corner tear, upper right, with a very minor (1/4 inch) vertical edge split in the center top margin, above the figure's head. All condition issues are consistent with age, and present an exceptionally good example of this truly remarkable work. With the collector's stamp of Friedrich August II, King of Saxony, last King of Poland (1797-1854), Dresden, on the right corner, recto (Lugt 971). This work likely appeared in a well-known posthumous sale of Friedrich August II's private collection, which was handled by C.G. Boerner, and took place in Leipzig, on May 7-9, 1928, presumably this print was presented as lot 1551. [Stechow 16] Ludolph Busïnck was born at Hann, Germany around 1590. By about 1620 he was actively working as a printmaker in Paris, collaborating with publisher and celebrated cartographer Melchoir Tavernier. Busïnck may have studied printmaking in the Netherlands, evidenced by the influence of Dutch printmaker Hendrick Goltzius we see in the bold woodcuts he produced in France. Busïnck was the first printmaker to create chiaroscuro woodcuts in France, a technique originated by German artist Hans Burgkmair...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Lucas Vorsterman (1595 - 1675) after Peter Paul Rubens (1577 - 1640) The Fligh...

Etching on cream laid paper, 4 7/8 x 6 1/4 inches (123 x 160 mm), full margins. In good condition with some age tone around the sheet edges and an inscription in pencil on the verso.

Exodus 2 - Old Testament Story is an Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout in...

Dog is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions. Including a crea...

Pair of early 17th-century medallion profiles in antique yellow marble and onyx Pair of medallions depicting Agrippina and Faustina, Rome, 17th century. Ra...

DENYS CALVAERT (Antwerp c. 1540 – 1619 Bologna), ATTRIBUTED TO Screaming Face Red chalk on paper 17.5 x 14.5 cm After 1608 Provenance: Unidentified collection (Lugt L.2339 / 3578 [p...

Pair of white marble sculptures - Allegory of Summer and Winter. Italy, early 17th century. 13 x 10 x h 30 cm including base, 11 x 9 x h 28 cm excluding base. Entirely in carved wh...

A 17th century hand-colored map of North & South America entitled "Americae Descriptio" by the cartographer Johannes Jansson, published in Jansson's Atlas Minor in Amsterdam in 1628....