Archival Pigment Prints and Multiples

Pantheon (Rome) by Frank Schott from a series of monochromatic and timeless photographic observances of iconic architectural and interior references around Rome's historical center ...

This 17th century hand-colored engraving of a lemon entitled "Limon Straitus Amalphitanus" is Plate 249 from Giovanni Baptista Ferrari's publication "Hesperides, sive, De Malorum Aur...

These two Giovanni Battista Piranesi 18th century etchings of fireplace designs on one sheet is plate 6 from his publication 'Diverse Maniere d'adornare i cammini ed ogni altra parte degli edifizi desunte dall'architettura Egizia, Etrusca, e Greca con un Ragionamento Apologetico in defesa dell'Architettura Egizia, e Toscana, opera del Cavaliere Giambattista Piranesi...

The So-Called Tempio della Tosse, Near Tivoli. Interior Upright (Veduta interna del Tempio della Tosse) "Temple of the Cough" Etching, 1764 Signed in the plate From: Vedute di Roma...

JAN VAN HUYSUM (1682-1749) “A Flower Piece.” (Shown) "A Fruit Piece." (Listed Separately) SOLD ONLY AS A PAIR. PRICED FOR THE PAIR. Mezzotint engra...

Mark on left seems rubbed, light foxing--see title and look it up as a Redoute image.

The two plates in this set were created utilizing both engraving and etching techniques by William Hogarth in 1753, originally as illustrations of his book on aesthetics, entitled "Analysis of Beauty". Due to their popularity, these plates were later published separately. The publication line in the lower right reads: "Designed, Engraved, and Publish'd by Wm. Hogarth, March 5th 1753, according to Act of Parliament." Hogarth's original copper plates were refurbished where needed by James Heath and engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's copper plates were used for printing. Most were melted during World War I for the construction of bombs. These large folio sized "Analysis of Beauty" engravings are presented in antiqued gold-colored frames with double mats; the outer silk mats are light brown-colored and the inner mats are dark brown. Each frame measures 27.38" x 31.25" x 1.13". There is one tiny spot in the right margin of plate 1 and another in the lower margin; the latter could be from the printing process. The prints are otherwise in excellent condition. The "Analysis of Beauty" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Fine Arts Museums of San Francisco. The first engraving (Plate 1) depicts a courtyard of statues which is filled with some of the most famous works of classical sculpture. The most important sculptures are surrounded by less impressive works. The Medicean Venus (#13) is in the center with a statue of Julius Caesar (#19) to the right, elevated on a pulley with a short, overdressed Brutus stands over the falling Caesar. The Apollo Belvedere (#12) is next. A judge stands to the right with his foot on a cherub (#16). Another crying cherub holds a gallows and wipes his tears with the judge's robe. A sphinx (#21) and the drunken Silenus (#107) are below the Venus. Michaelangelo's torso (#54) and a statue of Antonius (#6) are seen in the foreground. The Farnese Hercules (#3) and a bust of another Hercules (#4) under two statuettes of Isis are also included in the scene. The key to these objects is included in the form of a serpentine line winding around a cone (#26), Hogarth's "Line of Beauty". For Hogarth the winding line is an essential element of beauty in art. Hogarth's theory of beauty is communicated in this plate. Plate 2 is thought to represent the Wanstead Assembly, with the Earl of Tynley and his household. It is an adaptation of a scene in the Happy Marriage series, which complements Hogarth's Marriage à la Mode...

A. Tigna Protensa Super Media Epistylia, B. Praecisiones Tigorum Quaqua Versus Extrinsectus Apparentium, C. Opae Extremitates Tigorum Contintes, Fig. I, plate 88 from "Vasi, Candelab...

This is a 17th century portrait engraving of Saint Vincent de Paul by Gerard Edelinck (1640-1707) after a painting by Simon Francois (1606-1671), published in Charles Perrault's 'Les Hommes Illustres' in Paris in 1696. Vincent de Paul (1581-1660) was a French Catholic...

Pantheon (Rome) by Frank Schott from a series of monochromatic and timeless photographic observances of iconic architectural and interior references around Rome's historical center ...

"The Heidelberg Tun" is a 17th century engraving by an unknown artist. It depicts a famous huge ornamental wine cask that resided in the wine cellar of Heidelberg Castle. The cask shown here, built in 1664, is the second of four Heidelberg Tuns; the first was destroyed during the Thirty Years' War, between 1618 and 1648. This cask was built in 1664 when Karl Ludwig ordered Heidelberg cellar master...

Artist: Pierre Bulliard (French, 1742-1793) Title: "Le Pied de Griffon (Griffin's Foot)", "La Laureole (The Laurel)", and "Le Cabaret d'Europe (The European Cabaret)" Portfolio: Herb...