Unknown

The Entombment of Christ

c. 1507

Street in Smyrna. 1889. Etching. Wisselingh 34. 7 x 5 1/4 (sheet 12 7/8 x 8 7/8).Edition 100, number 49. A rich, tonal impression printed on Strasbourg cream laid paper on the full s...

LA RENTRÉÉE. C'est drôle, je ne vois pas revenir la petite Confiance. (The return It's strange that , I don't seem to see little Confiance return.) Delte...

John Bull jure qu'il est attaché au fils de Théodoros par un lien indissoluble. (John Bull vows that he is tied to the son of Theodorus by an indissoluble band.) Delteil catalog3657 state ii/ii (with letters). 9 5/8 x 8 1/4 (sheet 12 x 11 3/16). Series: Actualités, (News of the Day), plate 189. Published in Le Charivari...

A Turkish Funeral. 1889. Etching. Wisselingh 60. 3 3/4 x 5 1/2 (sheet 8 3/4 x 11 7/8). Edition 100, #9. A richly inked impression printed on Strasbourg cream laid paper. Printed on...

A Cavalcade. 1888. Etching. Wisselingh 107. 4 5/8 x 4 (sheet 11 5/8 x 8 3/4). Edition 100, #46. A richly inked impression printed on Strasbourg cream laid paper. Printed on the ful...

. Wood engraving. Physick catalog 827. 5 3/4 x 2 3/4 (sheet 8 1/16 x 3 7/16). Proof printed on simili-Japan paper with one side deckle edge. Unsigned. Eric Gill was a painter, scu...

London: 1799. Copperplate stipple engraving with hand coloring in watercolor, 17 1/2 x 10 1/4 inches (445 x 260 mm) (sheet), full margins. In very good condition with some minor, lig...

Bruyn, Abraham de (after). Court wrestlers of the Sultan of Turkey-dressed for outdoors, resting and fighting. 1577. Engraving on hand made laid paper, 10 5/8 x 6 7/8 inches (268 x 1...

An exalted portrait of fellow Flemish engraver and publisher Karel van Mallery. Lucas Vorsterman the Elder (after Anthony van Dyck). Carolus de Mallery, from Icones Principum Viror...

London: 1799. Copperplate stipple engraving with hand coloring in watercolor, 17 1/2 x 10 1/4 inches (445 x 260 mm) (sheet), full margins. In very good condition with some minor, lig...

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 ...

(after Anthonie Van Dyck) Engraving on cream laid paper, 9 1/4 x 6 3/8 inches (234 x 161 mm), full margins. Water stain throughout bottom, diagonal creases in the area of the bottom right corner, paper tape along top edge on recto. A very well inked impression. __________Flemish painter and engraver Paulus Pontius was born in Antwerp in 1603, and it was in this city that his full life would unfold. At the young age of 13, he was apprenticed to the still life painter Osias Beert, and subsequently to Lucas Vosterman, who was heavily associated with the workshop of Peter Paul Rubens. Vosterman trained Pontius in the skill of engraving, which he took to immediately, finding he had great skill at recreating paintings. Pontius was able to capture the minutiae of light and shadow found on the canvas, and mastered the ability to accurately render the subtleties of brushwork in this alternate media. His success as an engraver cemented his role in the workshop of Rubens, and in 1624, when Vosterman found himself at odds with Rubens, and left Antwerp for England, Pontius assumed his role as foremost engraver in the workshop. It was in this year that Pontius took up lodgings in Rubens's home, and continued to live there until 1631, when courtship and marriage (the first of three) brought him away. After the death of Rubens in 1640, Pontius embarked on a very successful career engraving reproductions of master works by artists including Rubens, Anthony van Dyck, Jacob Jordaens, Pieter van Avont, Abraham van Diepenbeeck...