Etching Figurative Prints

Ancient Roman Busts from the Series "Antiquities of Herculaneum Exposed", original etching from the end of the 18th century, made by Various Old Masters. In very good condition, exc...

Frame from Ancient Rome, from the Series "Antiquities of Herculaneum Exposed", is an original etching from the end of the 18th century, made by Various Old Masters. In very good con...

Animal Figures from Ancient Rome, from the Series "The Antiquities of Herculaneum Exposed", is an original etching from the end of the 18th century, made by Various Old Masters. In ...

Animal Figures from Ancient Rome, from the Series "The Antiquities of Herculaneum Exposed", is anoriginal etching from the end of the 18th century, made by Various Old Masters. In v...

Animal Figures from Ancient Rome, from the Series "The Antiquities of Herculaneum Exposed", is anoriginal etching from the end of the 18th century, made by Various Old Masters. In v...

Animal Figures from Ancient Rome, from the Series "The Antiquities of Herculaneum Exposed", is anoriginal etching from the end of the 18th century, made by Various Old Masters.In ver...

Animal Figures from Ancient Rome, from the Series "The Antiquities of Herculaneum Exposed", is anoriginal etching from the end of the 18th century, made by Various Old Masters. In ...

Animal Figures from Ancient Rome, from the serie of "the Antiquities of Herculaneum Exposed", is an original etching from the end of the 18th century, made by Various Old Masters. I...

Capital Letter from Ancient Rome, from the Series"Antiquities of Herculaneum Exposed" is an original etching from the end of the 18th century. In very good condition, except for some...

Animal Figures Animal Figures from Ancient Rome, From the Series "Antiquities of Herculaneum Exposed", original etching from the end of the 18th century, made by Various Old Masters...

Animal Figures from Ancient Rome, from the Series "The Antiquities of Herculaneum Exposed", is an original etching from the end of the 18th century, made by Various Old Masters...

Animal Figures from Ancient Rome, from the Series "The Antiquities of Herculaneum Exposed", is anoriginal etching from the end of the 18th century, made by Various Old Masters...

Animal Figures from Ancient Rome, from the Series "The Antiquities of Herculaneum Exposed", is anoriginal etching from the end of the 18th century, made by Various Old Masters...

Animal Figures from Ancient Rome, from the Series "The Antiquities of Herculaneum Exposed", is an original etching from the end of the 18th century, made by Various Old Masters...

Ancient Roman bust, from the Series "Antiquities of Herculaneum Exposed", is an original etching of the end of the 18th century, made by Various Masters. In very good condition, exce...

Ancient Roman bust, from the Series "Antiquities of Herculaneum Exposed", is an original etching of the end of the 18th century, made by Various Masters.In very good condition, excep...

Human heads from Ancient Rome, from the Series "Antiquities of Herculaneum Exposed", original etching from the end of the 18th Century, made by Various Old Masters. In very good con...

Portrait of Man is a beautiful etching realized by an Anonymous artist active in the 18th century. Titled on the lower center "Giovanni Paisiello", wit...

Ancient View of Niort is an original etching artwork realized by an anonymous engraver of the 19th Century. Printed in series of "France Pittoresque" at the top center. Titled in F...

Cannes is an original etching artwork realized by an anonymous engraver of the 19th Century. Printed in series of "France Pittoresque" at the top center. Titled in France on the lo...

Ex Libris - Gediminui 650 - Vilniaus Viesoji Biblioteka is an original print in etching technique on ivory paper, realized by Bruno Pozzo, in 1950s. Hand-signed on the lower right. ...

Image dimensions: 48.4 x 33.2 cm Busto di Geta (Bust of Geta) is a superb black and white burin and etching on paper, realized by the artist Pietro Fontana, after Agostino Tofanelli, as the inscriptions on plate on the lower margin report “Agostino Tofanelli delineò / Pietro Fontana incise Roma”. This original print is numbered on plate in Roman numerals on the higher margin: “Tom II. / Tav. XXII" and is a plate from the series "Illustrazioni de' Monumenti scelti Borghesiani già esistenti nella Villa sul Pincio (..) date ora per la prima volta in luce dal cav. Gio. Gherardo De Rossi e da Stefano Piale sotto la guida di Vincenzo Feoli", by Ennio Quirino Visconti, published by Stamperia de Romanis in Rome in 1821. This old master’s original print shows a beautiful piece of the Borghese's collection: a marble bust of Geta in a neoclassical style. Geta (full name Publius Septimius Geta) was the son of Septimius Severus and Julia Domna, and the brother of Caracalla. He was a Roman co-emperor from 209 to 212 AD, first with his father and then with his brother. His biography is very interesting: he was the younger son of Septimius Severus and his second wife; his face was obliterated because of the damnatio memoriae ordered by his brother Caracalla, who had him assassinated. In excellent conditions, with some light signs of time, some sporadic minor stains along the lower margin, and a usual and imperceptible yellowing of the paper on the margins. This wonderful etching has preserved its charming and fresh impression. Pietro Fontana (Bassano Romano, 1762 – Rome, 1837) The Italian artist and engraver Pietro Fontana was active in Rome and specialized in subjects dealing with the Vatican and the Papacy. He started his career as student of Raffaello Morghen...

Image dimensions: 25.5 x 18 cm. Mexican Idols, Deities and Ministers is a fine etching, hand-watercolored, realized by the engraver Gianfrancesco Pivati. This original print, repre...

Offers and Sacrifices to the Sun, among the Floridians is a fine etching, hand-watercolored, realized by the engraver Gianfrancesco Pivati. This original print, representing the hum...

Image dimensions: 25.5 x 18 cm. Transformations is a fine etching, hand-watercolored, realized by the engraver Gianfrancesco Pivati. This original print, representing the "fifth an...

Virginia Kings Sepulchres Etchings, Hand-Watercoloured. Vol. VIII, Plate LVII Image Dim: cm 25.5 x 18; Sheet Dim: cm 37.5 x 23.8; Passepartout Dim: cm 49 x 34 Beautiful Etching, H...

Japanese Wedding Ceremony Etchings, Hand-Watercoloured. Vol. VIII, Plate XLVII Image Dim: cm 25.5 x 18; Sheet Dim: cm 37.5 x 23.8; Passepartout Dim: cm...

Divinities of Campeche, Idols of Tabasco Etchings, Hand-Watercoloured. Vol. VIII, Plate LXXI Image Dim: cm 25.5 x 18; Sheet Dim: cm 37.5 x 23.8; Passepartout Dim: cm 49 x 34 Two E...

Way Peruvians light the Holy Fire during the Sun Party - Inca offering a liquor vase Etchings, Hand-Watercoloured. Vol. VIII, Plate LXXVII Image Dim: cm 25.5 x 18; Sheet Dim: cm 37...

Funeral Ceremonies of natives of Guiana- Funeral Ceremonies of Brasilian indigenouses Etchings, Hand-Watercoloured. Vol. VIII, Plate LXXV Image Dim: cm 25.5 x 18; Sheet Dim: cm 37.5 x 23.8; Passepartout Dim: cm 49 x 34 Very Interesting Etchings ( two pictures in the same matrix), Hand-watercoloured, showing typical Funeral Cerimonies of American natives...

View and Entrance of the Royal Mosque and the Imperial Market Etchings, Hand-Watercoloured. Vol. V, Plate XXXV Image Dim: cm 25.5 x 18; Sheet Dim: cm 37.5 x 23.8; Passepartout Dim:...

Moscovian Christening Etchings, Hand-Watercoloured. Vol. VIII, Plate LXXXIX Image Dim: cm 25.5 x 18; Sheet Dim: cm 37.5 x 23.8; Passepartout Dim: cm 49 x 34 Wonderful Etchings, Ha...

Funeral Ceremony of the king and a monastery of "Talapini" Etchings, Hand-Watercoloured. Vol. VIII, Plate XXIX Image Dim: cm 25.5 x 18; Sheet Dim: cm 37.5 x 23.8; Passepartout Dim:...

The Malkuth, or Discipline of German Jewish Etching, Hand-Watercoloured. Vol. VIII, Plate IX Image Dim: cm 25.5 x 18; Sheet Dim: cm 37.5 x 23.8; Passep...

Sacrifices among the natives - From “New Scientific and Curious Dictionnary concerning the Sacred and the Profane Etchings, Hand-Watercoloured. Tom.VII, Plate XIV Image Dim: cm 25....

The Great Burmese Feast: Sapan Giache Etchings, Hand-Watercoloured. Tom.VIII, Plate XXVIII Image Dim: cm 25.5 x 18; Sheet Dim: cm 37.5 x 23.8; Passepartout Dim: cm 49 x 34 Very Fi...

Funeral Procession among the indigenouses - From “New Scientific and Curious Dictionnary concerning the Sacred and the Profane Etchings, Hand-Water...

The Holy Council - From “New Scientific and Curious Dictionnary concerning the Sacred and the Profane Etchings, Hand-Watercoloured. Tom.IX, Plate XLIII Image Dim: cm 25.5 x 18; She...

Beautiful Artist’s Proof, representing the myth of Narcissius and the nymph Eco, draw by "the Metamorphosis" by Publio Ovidio Nasone. This aquatint, by Ludovico Caracciolo (engraver...

Androne della Villa di Mecenate a Tivoli, per cui passava l'antica Via Consolare Tiburtina Image dimensions: 50x60 cm. From the collection “Le antichità de’ contorni di Roma (...)” a...

Jan Gillisz van Vliet (1605–1668) was a Dutch Golden Age artist and student of Rembrandt. He worked with Rembrandt between 1628 and 1637, inspired by his master's work. Like Rembrandt, van Vliet made a series of beggar figures, though often with a greater degree of satire and expressiveness. For example, this image of a rat catcher...

'The Smoker (Le Fumeur)' is an original etching by the celebrated Dutch painter and printmaker Cornelis-Pietersz Bega. It presents a genre scene of the type Bega was best known for: Bega's principal subjects were genre representations of taverns, domestic interiors and villages. He depicted nursing mothers, prostitutes, drunks, gamblers and fools such as quack doctors and alchemists. In this case, he shows a man seated on a chair with his foot on a flat stool and holding a smoking pipe. For Bega, this representation was more of a caricature than it was an image of a specific person, and such genre scenes would have held allegorical and symbolic meaning for the seventeenth-century viewer. During the seventeenth century, the Dutch of all levels of society consumed tobacco and alcohol, and these were an important part of the Dutch economy and a major source of wealth. At the same time, however, moralists and ministers sought to curb intoxication: they openly described drinking and smoking as sinful, immoral, and a general threat to one’s reputation. This paradox is reflected in prints such as this, which inherently carry the national pride of the Dutch economy alongside a moral warning in a print that could be just as easily consumed and collected. 2.5 x 2.25 inches, print 12.38 x 10.38 inches, frame Framed to conservation standards using archival materials including 100 percent rag matting and mounting materials. Housed in a gold finish Spanish-style wood moulding. Overall good and stable condition; margins cut to plate; some wrinkling in the corners from previous mounting; housed in a new custom frame. Cornelis Bega was born into prosperous circumstances. His mother, Maria Cornelis, inherited half the estate (gold, silver, paintings, drawings and prints) and all of the red chalk drawings of her father, Cornelis Cornelisz van Haarlem, a renowned Mannerist artist. Bega's father was Pieter Jansz Begijn (d 1648), a gold and silversmith. Like other family members, Bega was probably Catholic. Houbraken's claim that Bega studied with Adriaen van Ostade is likely to be correct; this was probably before 24 April 1653, when Bega joined Vincent Laurentsz. van der Vinne in Frankfurt for a journey through Germany, Switzerland and France. Bega had returned to Haarlem by 1 September 1654, at which time he joined the Guild of St Luke; he was already a competent draughtsman, as indicated by his first extant dated work, Interior with a Nursing Mother (1652; Frankfurt am Main, Städel. Kstinst.), and by a remarkable double portrait (Amsterdam, Rijksmuseum) drawn by him and Leendert van der Cooghen in 1654. Bega painted, drew, etched and made counterproofs in a wide variety of materials on different types of small-scale supports. He may have been the first Dutch artist to make monotypes, but this remains controversial. Approximately 160 paintings, 80 drawings and six monotypes by Bega have been catalogued, as well as around 34 etchings. Bega's principal subjects were genre representations of taverns, domestic interiors and villages. He depicted nursing mothers, prostitutes, drunks, smokers, gamblers and fools such as quack doctors and alchemists. Less common subjects include the ridiculed or pestered woman, as in Two Figures and Mother with a Spirits Bottle (c. 1662; Gouda, Stedel, Museum Catharina Gasthuis) and The Inn (etching), as well as witty satires on traditional scenes of middle-class music-makers, such as the Music Lesson (1663; Paris, Petit Palace). Bega's early paintings, such as the Weaver's Family (c. 1652; St Petersburg, Hermitage), are freely executed, dark and coarse, recalling the many-figured peasant subjects of van Ostade. Between c. 1660 and 1664 he began to paint genre scenes with fewer figures, which are finely articulated, colourful and psychologically expressive, for example Two Men Singing (1662; Dublin, N.G.). His exquisite, late fijnschilderen ('fine painting') manner, evident in The Alchemist (1663; Malibu, Getty Museum), compares well with that of Gerrit Dou. As a draughtsman Bega is noted for his single-figure studies, executed mainly in black and white chalk on blue paper or red chalk on white paper. None of the studies, which were drawn naer het leven (from life), seem to relate to a painting or etching. Bega traded drawings or shared models with other artists of the Haarlem school, including van der Cooghen, Gerrit Berckheyde, Dirck Helmbreker and Cornelis Visscher. These artists drew chalk figure studies in a very similar style, characterised by regular and precise parallel shading and well-defined forms; their drawings, especially those of Bega and Berckheyde, have been frequently confused. Unlike the realistic figure studies, Bega's etchings depict interiors with figures or single figures in the manner of van Ostade; the compositions, often with masterful chiaroscuro effects, reflect most closely the paintings of the 1650s. Bega is likely to have remained in Haarlem, where he paid dues to the Guild in 1661. He probably died from the plague; fees for his expensive funeral at St. Bavo's were paid on 30 August 1664. Among the artists he influenced were Thomas Wijck, Jan Steen, Richard Brakenburg (1650-1702) and Cornelis Dusart. Painters such as R. Oostrzaen ( fl ?1656) and Jacob Toorenvliet...

"The Singer" is an original etching by Cornelis-Pietersz Bega. It depicts a performer and onlookers. Publisher: Pearce #50. 4" x 3" art 16 1/2" x 13 1/2" frame Cornelis Pietersz Be...

The present is one of the many prints John Thomas Smith produced of English cottages and vernacular architecture. This example, a view of a cottage in Edmonton, is closely related to...

"The Conversation" is an original etching by Cornelis-Pietersz Bega. It depicts three men conversing in a dark interior. Publisher: Pearce #43. 3" x 2 1/4" art 12 3/4" x 11 5/8" fra...

"The Meeting" is an original etching by Cornelis-Pietersz Bega. It depicts a confrontation between two groups of figures. Publisher: Pearce #48. 2 3/4" x 2 3/4" art 10 1/4" x 10 3/8...

"The Pipe Smoker" is an original etching by Cornelis-Pietersz Bega. It depicts a man sitting at a table with his pipe. Publisher: Pearce #38. 3 1/2" x 3 1/4" art 13 5/8" x 11 3/4" f...

Rembrandt van Rijn (1696-1669), La circoncision dans l’étable, 1654 Etching on watermarked paper. Beautiful artist’s proof, signed and dated in plate higher-left : “Rembrandt 1654”...

Jacques Callot (1592-1635), Les Grandes Miseres de la Guerre, etchings, 1633, the complete set of 18. Lieure 1339-56, the frontispiece third state (of 3), th...