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Carlo Maratti
Virgin, Joseph and Child in Oval

1650

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  • Mysteries of the Passion
    By Jacques Callot
    Located in New York, NY
    Jacques Callot (1592-1635), Mysteries of the Passion (Variae Tum Passionis Christi, Tum Vitiae Beatae Mariae Virginis), complete set of 20 etchings plus the frontispiece by Abraham Bosse (Reference Meaume 31). c. 1631. Reference: Lieure 679-698, second state (of 2). In very good condition, archival mounting. A fine set of these small etchings, printed on 5 plates/sheets of laid paper, with margins, 3 of the plates with partial Crown watermarks (possibly Lieure 45). The set of 20 etchings includes 7 in circular format, with a diameter of 1 1/4 inches; 7 larger ovals with a length of 1 7/8 inches, and 6 smaller ovals with a length of 1 1/2 inches. These are on 5 plates, with margins outside of the etchings of about 5/8 inches. The frontispiece is 3 1/2 x 3, the sheet 4 1/2 x 4 3/4 inches. The 20 etchings of the series include: Plate with 6 Scenes (Lieure 685-690): Ovals: Adoration of the Shepherds, Visitation, Adoration of the Magi; Circles: Descent into Limbo, Descent of the Holy Spirit, Entombment 2 Plate with 4 Scenes Each (Lieure 691-698): Ovals: Annunciation, Christ Among Teachers, Circumcision, Presentation; Circles: Resurrection, Crucifixion, Descent from the Cross, Transfiguration 2 Plates with 3 Oval Scenes Each (Lieure 679-684): Carrying of the Cross, Presentation to the People, Crowning with Thorns, Flagellation, Christ Before Pilate...
    Category

    1630s Old Masters Figurative Prints

    Materials

    Etching

  • Air
    By Wenceslaus Hollar
    Located in New York, NY
    Wenzel Hollar (1606-1677), Air, 1647, after Petrus van Avont, from the Four Elements. [signed and dated W. Hollar 1647 lower right and inscribed P. van Avont inu lower left in the plate] Reference: Pennington 522, third state (of 3). In good condition (a thin spot upper left verso), on laid paper, trimmed outside of the borderline all around, 5 1/2 x 8 1/8 inches. Provenance: the London firm of Craddock and Barnard, still in their mat, with the Barnard annotations. A fine strong impression of this whimsical representation of the element Air. Hollar (1607-1677) had learned etching as a gentlemanly pursuit before, as a Protestant, having to leave Catholic Prague when he was 20. For nine years he worked in various German towns, mostly producing topographical prints...
    Category

    1640s Old Masters Figurative Prints

    Materials

    Etching

  • The Young Hostess
    By Cornelis Bega
    Located in New York, NY
    Cornelis Bega (active 1631/32-64), The Young Hostess, c. 1660-64, etching. Reference: Hollstein, Bartsch 33, third state (of 5). With the address of J. Covens and C Mortier bottom left - before the address was removed (in the fourth state) and the artist’s signature was added (in the fifth state). In excellent condition, printed in black/grey ink on an old laid paper, with a 3/16 inch margin outside the plate mark all around, archival matting. Provenance: Ex collection Graff (with stamp verso, Lugt 1092a), LRV (with stamp verso, Lugt 1761), an unidentified collector’s stamp verso, and Dr. Karl Herveg (his stamp verso, Lugt 3974). A very good impression, with the guidelines of the address strongly visible. Dr. Karl Herweg was a noted collector of 17th Century Dutch prints...
    Category

    1660s Old Masters Figurative Prints

    Materials

    Etching

  • One Can't Tell Why - Proof from the Disasters of War
    By Francisco Goya
    Located in New York, NY
    Francisco José de Goya y Lucientes (1746 Fuendetodos – Bordeaux 1828), No se puede saber por qué – One can’t tell why ca. 1808–1814, etching, burnished aquatint, drypoint, an...
    Category

    1810s Old Masters Figurative Prints

    Materials

    Drypoint, Etching, Aquatint

  • The Mother Seated in an Inn
    By Cornelis Bega
    Located in New York, NY
    Cornelis Bega (1631/2-1664), The Mother Seated in an Inn, etching, circa 1660-64. Reference: Hollstein 31, a later impression, second state (of 2). In good condition, trimmed outside...
    Category

    1660s Old Masters Figurative Prints

    Materials

    Etching

  • Disparate Pobre (Two Heads are Better Than One) – Trial Proof
    By Francisco Goya
    Located in New York, NY
    Francisco de Goya y Lucientes (1746-1828), Disparate Pobre (Two Heads are Better Than One) – Trial Proof, with burnished aquatint, drypoint and engraving, c. 1812; plate 11 from Los...
    Category

    1810s Old Masters Figurative Prints

    Materials

    Engraving, Drypoint, Etching, Aquatint

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  • Hadrian's Mausoleum, Castel S. Angelo: A Framed 18th Century Etching by Piranesi
    By Giovanni Battista Piranesi
    Located in Alamo, CA
    This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta del Mausoleo d'Elio Adriana ora chiamato Castello S. Angelo nella parte opposta alla Facciata de...
    Category

    1750s Old Masters Landscape Prints

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    Etching

  • 19th Century Etching of the Ancient Column of Trajan in Rome by Luigi Rossini
    By Luigi Rossini
    Located in Alamo, CA
    This early 19th century etching entitled "Veduta dello scavo del Foro Trajano" was created by Luigi Rossini and included in his publication "Le Antichita Romane" (The Rome of Antiquity), published in Rome in 1823. It depicts the historical victory column of Trajan standing amidst the rubble of broken columns that remain around it. The etching is presented in a black wood frame with a light brown outer mat and a dark brown inner mat. There are several frame abrasions. The print and mats are in very good condition. The print is framed and matted in the identical style as the another etching of an ancient Roman landmark, the Piazza Navona, which is also listed on 1stdibs, see item # LU117326144172. The pair would make an attractive display grouping of Roman architecture. A discount is available for purchase of the pair of prints. Luigi Rossini (1790-1857) like his predecessors, Giovanni Piranesi (1720–1778) and Giuseppi Vasi (1710-1782), was an architect and artist. Like Piranesi and Vasi, he wanted to glorify the architecture of ancient Rome, which he felt was deteriorating and needed to be documented. Several of the ruins he illustrated have, in fact, since disappeared leaving only his images as a record of their appearance. His images of the grand edifices of the city dramatically depict the power and glory...
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  • "Mythological Scene-Satyr & GoatHerder"an Original Etching signed by Castiglione
    By Giovanni Benedetto Castiglione
    Located in Milwaukee, WI
    "Mythological Scene--Satyr & Goat Herder" is an original etching signed by Italian artist Giovanni Benedetto Castiglione. It depicts a satyr lounging on the left and an approaching g...
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    Mid-17th Century Old Masters Landscape Prints

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  • "Four Women in National Costumes, " Etchings by Wenceslaus Hollar
    By Wenceslaus Hollar
    Located in Milwaukee, WI
    "Four Women in National Costumes" is a set of four original etchings by Wenceslaus Von Prachna Hollar. 3 5/8" x 2 3/8" each print 19 1/8" x 18 1/2" frame Wenceslaus Von Prachna Ho...
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    17th Century Old Masters Figurative Prints

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  • Les Chevaliers - Original Etching by Sébastien Leclerc - 17th Century
    Located in Roma, IT
    Les Chevaliers is an original print, realized in the second half of 17th Century by the French artist Sébastien Leclerc (1637-1714). Etching on pap...
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  • "Perseus and Andromeda, " an Etching by Alexander Runciman
    By Alexander Runciman
    Located in Milwaukee, WI
    "Perseus and Andromeda" is an original etching by Scottish artist Alexander Runciman, signed in the lower left area of the plate. It depicts Perseus on the left swinging his shield and a young woman, Andromeda, on the right shielding her gaze. Andromeda is to be sacrificed to a sea-monster to save her city, but Perseus rescues her from this fate by slaying the beast. 5 3/4" x 9 1/2" art 16 1/4" x 20 1/4" frame Alexander Runciman (1736-1785) was a Scottish painter of historical and mythological subjects. He was born in Edinburgh, and studied at the Foulis Academy, Glasgow, and from 1750 to 1762 he was apprenticed to the landscape painter Robert Norie, later becoming a partner in the Norie family firm. He also worked as a stage painter for the Theatre Royal in Edinburgh. In 1767, he went to Rome, where he spent five years. During Runciman's stay in Italy he became acquainted with other artists such as Henry Fuseli and the sculptor Johan Tobias Sergel...
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