Paper Prints and Multiples

Artist: After Giuseppe Cesari (Italian 1568-1640) Title: St. George Slaying the Dragon Medium: Giclée Fine Art Print on Ilford Galerie Textured Cotton ...

Etching on tissue thin laid paper. 4 3/8 x 3 1/16 inches (110 x 78 mm), trimmed at plate mark. A very good, well inked impression. Only known state. Adhered at all four corners to ar...

Female Portraits is an original artwork realized after Annibale Carracci (Bologna, 1560 - Roma, 1609). Etching on paper. Good conditions. The print is signed "Anib. Carrache in." in the bottom left corner while "De Poilly...

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 ...

Etching on cream laid paper, full margins. Trimmed at the plate mark. Scattered light caramel colored areas of discoloration in the sheet corners, light skinning on the verso at the ...

Artist: After Hans Holbein the Younger (German 1497-1543). Title: King Henry VIII of England. Limited Edition of 100. Medium: Giclée Fine Art Print on Ilford Galerie Textured Cotton Rag 310gsm paper. Sheet Size: Height 52.7 cm x Width 42 cm. About: Hans Holbein the Younger was born in Augsburg Germany in 1497, a painter and printer working in the Northern Renaissance style. Considered one of the pre-eminent portrait painters of the 16th century In 1526 Holbein travelled to England and quickly build a reputation as a fine portraitist. He then spent four years in Basel returning to England in 1532 to work for Anne Boleyn and Thomas Cromwell...

(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...

Engraving on cream laid paper, 8 x 5 3/8 inches (203 x 137 mm), trimmed at the platemark. A fine impression with a Coat of Arms watermark. Second state, after the addition of the Frederick de Witt...

Engraving on cream laid paper with a foolscap watermark, 11 1/4 x 8 inches (282 x 203 mm), thread margins. Scattered expert repairs including minor pulp patches, minor rubbing and o...

Etching on on laid paper, adhered along left sheet edge to archival wove paper. A rich inking impression in very good condition. From the Picart Edition of 1710. - Ex-collection Fer...

Etching, engraving and stippling on cream laid paper with an indiscernible watermark in the sheet center, 11 15/16 x 8 3/16 inches (302 x 207 mm), trimmed at the plate mark. A very g...

Engraving with hand coloring and heightening in watercolor on two leaves of expertly conjoined handmade laid paper, one leaf with a large watermark a feathered dragon, 7 1/4 x 11 1/4...

The present artwork is an original etching by American artist Leonard Baskin. Here, he presents a portrait of the Flemish Renaissance artist Peter Breughel the Elder in profile, executed after the engraving by Johannes Wierix published in 1572 by Volcxken Diericx and Hieronymus Cock. In the portrait, Baskin displays a love of line and texture, using the etching technique to exaggerate and draw attention to the wrinkles of the face, while leaving the hair and clothing like a study or sketch. Like in the work of contemporary artist Claude Weisbuch, the result for Baskin is an image that recalls the old masters and displays the mastery of contemporary printmakers, but that also places mid-century formal concerns at the forefront of portraiture and figuration. etching in black in on Rives paper 17.5 x 17.5 inches, plate 29.75 x 22 inches, sheet 33.5 x 25.88 inches, frame Entitled "Breughel" in pencil, lower left Edition 9/50 in pencil, lower center Signed in pencil, lower right "PB" in the plate, upper left "PB" in the plate, upper right (faint) Label for Irving Galleries, Milwaukee on reverse Label for David Barnett Gallery on reverse Framed behind glass in a distressed cassetta-style moulding Artwork in overall good condition; general toning to the paper; some scattered foxing; frame in good condition with some losses to finished surface revealing white ground Born in 1922 in New Brunswick, New Jersey, Baskin was reared in Brooklyn, New York. The son of a Rabbi, Baskin was educated at a yeshiva (Jewish religious college), which had a profound effect on his aesthetic. Committed to art at an early age, Baskin had his first exhibition. of sculpture, at the Glickman Studio Gallery, New York, at the age of seventeen. He studied at Yale University from 1941 to 1943 and received his B.A. at the New School for Social Research in 1949. Baskin spent 1950 and 1951 abroad, studying in Paris and Florence. In 1953 he began teaching printmaking and sculpture at Smith College in Northampton, Massachusetts, where he remained until 1974. It was while he was at Smith College that he founded Gehenna Press, a small private press specializing in fine book production. He moved to England in 1974 and stayed till 1983 when he returned to America.. These nine years were enormously productive and besides sculptures he created a fine selection of prints and paintings. Baskin became intrigued by Greek history, philosophy and mythology at an early age and this study inspired many of his sculptures and paintings. Other influences were early 20th century sculptors, notably Ernst Barlach Leonard Baskin was one of the universal artists of the 20th century. He was a sculptor of renown. He was a writer and illustrator of books ranging from the bible to children's' stories and natural history. He was a talented water-colourist and a superb, prolific print-maker. His prints ranged from woodcuts through lithography and etching; his subjects covered portraits...

Artist: Marco Dente da Ravenna (Italian, 1493-1527) Title: "Venere e Amore sui Delfini (Venus and Cupid on Dolphins)" *Monogram signed by Dente in the plate (printed signature) lower left Circa: 1515-1520 (second state of three) Medium: Original Engraving on laid paper Limited edition: Unknown Printer: Unknown Publisher: Antonio Salamanca, Rome, Italy Reference: Bartsch XIV, page 244, No. 324; Passavant VI, page 69, No. 32; Le Blanc, II, page 111, No. 16; Imolesi Pozzi pages 71-72, 113, No. 10 Sheet size: 10.63" x 6.94" Condition: Thread margins. A strong impression in excellent condition Extremely rare Notes: Provenance: private collection - Périgueux, France. This work is also sometimes referred to as "Venus and Cupid riding two sea monsters, Cupid raises an arrow in his right hand, two heads representing wind in the clouds above". The engraver's monogram "SR" lower left. Published by Antonio Salamanca (1478-1562) in Rome, Italy with his address printed lower right: "Ant. Sal. Exc.". No watermark found. This engraving is after a drawing by Italian artist Raphael aka Raffaello Sanzio da Urbino (1483-1520). Biography: Marco Dente da Ravenna (1493–1527), usually just called Marco Dente, was an Italian engraver born in Ravenna in the latter part of the 15th Century. He was a prominent figure within the circle of printmakers around Marcantonio Raimondi...

Chiaroscuro woodcut on cream laid paper with a partial anchor in a circle watermark, printed from two blocks in black and olive-green, 10 3/4 x 8 3...

Etching on handmade laid paper with a large, indiscernible heraldic watermark, , trimmed inside platemark. Several light spots of foxing along right edge, verso, one area of light th...

Etching and drypoint on cream laid paper, 4 x 3 3/8 inches (102 x 86 mm), 1/4 inch margins. Signed in the plate, lower left corner. The 3rd state (of 6), after the rounding of the pl...

Etching on cream laid paper. 1/4 inch to 1/2 inch margins. In good condition with a band of minor discoloration along top and bottom sheet edge verso. One circular 1.5 inch- sized ar...

Presented here as a group are four original etchings of women in European national dress from the master printmaker Wenceslaus Hollar's series "Aula V...

Etching on thin cream laid paper with a partial "M" or "W" watermark, 5 x 5 15/16 inches (126 x 150 mm), thread margins. Inscribed in the plate in the upper-right: “Antoni Waterlo fe...

Etching on light cream laid paper, 8 x 5 1/2 inches (200 x 138 mm), 1/8-inch margins. Minor repairs, including expertly repaired lower right corner, and minor light in-painting at l...

By Wenceslaus Hollar, after Jan Van Bylert (Biler) Etching on cream laid paper, 3 7/16 x 2 3/4 inches (87 x 70 mm), thread margins. Lacking the inscription in the plate; "Felix Bil...

circa 1504 Woodcut on cream laid paper, 8 1/2 x 5 7/8 inches (215 x 148 mm), thread margins. Significant expert repairs to lower right sheet edge, and center right sheet edge. Mino...

Brownish black ink on dark cream, handmade, laid paper, 8 1/4 x 10 1/4 inches (208 x 260 mm). Uniform age tone with several scattered, unobtrusive spots of brown discoloration, consistent with age. Right top corner loss, evenly trimmed, paper tape remnants at top left corner, recto. Collector's stamp in blue ink ("PRB"), lower left corner, recto. On the verso is a neoclassical graphite and brown ink study of a procession showing a woman being carried in a birthing sedan chair. The woman is being carried backwards, with putti, and horn players, leading her up an embankment, across a river. In her wake we see a crowned man...

Chiaroscuro woodcut with underlying engraving on cream laid paper, printed from two blocks in brown and olive. 10 1/4 x 12 3/4 inches (260 x 321 mm) (plate), full margins with the text printing clearly below in black ink. In very good condition with scattered surface soiling and several minor flecks of light discoloration in the margins, especially in the area of the lower right corner, well outside of image area. Unobtrusive notations in pencil in the margin and on the verso. All condition issues are consistent with age. After a drawing of the same title by Polidoro da Caravaggio...

Artist: Saverio Manetti (Italian, 1723-1785) Title: "Eagle" (Plate V - 5) Portfolio: Storia Naturale Degli Uccelli (The Natural History of Birds) Year: 1767-1776 Medium: Original Hand-Colored Engraving on watermarked laid paper Limited edition: Unknown Printer: Unknown Publisher: heirs of Francesco Mouck (Vols. I-III), Gaetano Cambiagi (Vol. IV), Giuseppe Vanni (Vol. V), Florence, Italy Sheet size: 16.75" x 14.5" Platemark size: 13.63" x 10.88" Condition: Some minor surface marks mainly in margins. In excellent condition with strong colors Rare Notes: Provenance: private collection - Haarlem, Netherlands. Engraved and hand-colored by Italian artists Lorenzo Lorenzi (Active: 1750-1780) and Violante Vanni (1732-1776). Latin and Italian texts by Saverio Manetti. Comes from Manetti's monumental 5 book volume "Storia Naturale Degli Uccelli (The Natural History of Birds)", (1767-1776), which consists of 600 hand-colored prints, miniature and life-size prints, made from engraved plates. Unidentified watermark in very center of sheet. Comes with its accompanying information sheet. Eagle is the common name for many large birds of prey of the family Accipitridae. Eagles belong to several groups of genera, some of which are closely related. Most of the 60 species of eagle are from Eurasia and Africa. Manetti's extraordinary "Storia Naturale Degli Uccelli (The Natural History of Birds)", 1767-1776 was commissioned by Maria Luisa, the Grand Duchess of Tuscany. It is a massive 5 book volume set...

Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by F. Campana in the 18th century. Signed on the plate, on the lower rig...

A beautiful Arcadian landscape after Johannes Glauber. Amsterdam: 1721. Etching on handmade laid paper with an intact fleur-de-lis watermark. 203 x 275 mm; 8 x 10 7/8 inches, trimm...

Old Masters Print of Music Teachers after Franceso Barbieri called Guercino (1591-1666). This 13 x 21 inch etching is titled The Music Teachers after Franceso Barbieri called Guercino (1591-1666) Measurements: 13"x21". Susquehanna Antique Company...

Print of Moses, after Franceso Barbieri called Guercino (1591-1666). This is an old master portrait print of a drawing of Moses standing with his wooden walking stick...

Athena Goddess, Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Ludovico Boily in the 18th century. Signed on the pla...

Two anatomical copper engravings by Francesco Valesio. From De humani corporis fabrica libri decem Evangelista Deuchino, On laid paper. 17th Century # nude male figure

Brown ink and wash on laid paper with a grapes and vine watermark, 6 5/8 x 6 1/2 inches (168 x 164 mm). Laid down to Fellows watermarked wove paper, with uniform age tone, areas of light discoloration, and attenuation of pigment. Unevenly trimmed margins, and paper tape remnant from having been tipped-into a scrap book...

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...

Hermes, Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Ludovico Boily in the 18th century. Signed on the plate, on t...

Early 19th century print on laid paper. Two apostles after Raphael (Raffaello Sanzio da Urbino). Good color. Some subtle wrinkles to the paper. Framed. 

Artist: Michael Burghers (Dutch, c.1647/1648-1727) Title: "The New Testament" Portfolio: Holy Bible *Signed by Burghers in the plate (printed signature) lower left Year: 1680 Medium: Original Etching and Engraving with recent Hand-Color on watermarked laid paper Limited edition: Unknown Printer: John Baskett, London?, UK Publisher: Moses Pitt, Peter Parker, and Thomas Guy, London?, UK Sheet size (irregular margins): 17.25" x 10.5" Image size: 14.75" x 9.5" Condition: Uneven trimming and light edgewear in margins. One small tear entering image lower right which has been skillfully repaired with added backing paper with archival tape from verso. It is otherwise a strong impression in very good condition with strong colors Very rare Notes: Provenance: private collection - Cotswolds, UK. Comes from the 1685 "Holy Bible" portfolio. John Baskett was deemed printer to the King's most Excellent Majesty, for Great Britain and to the University of Oxford. Large unidentified watermark within center of sheet. There is an example of this work in the permanent collection of the British Museum in London, UK. In the foreground, John the Evangelist, holding a pen and writing...

De Humana Physiognomonia - Libri IIII Original Title: Io: Bap-tistae Portae Neapolitani. De Hum. Physiognomonia. Libri IIII. Ad Aloysium Card. Estensem Vici Aequensis, Apud Iosephum Cacchium, 1586. Vol. In-4° / cm. 32x22 272 pp (typographic mystake for page 265 indicated as 272 an vice-versa) Circulation: Rare First Edition Format: In-4° Pages: 272 Cover on ancient parchment, with title in ink (ancient calligraphy) on spine and “archivistic” decorations in leather and rope on same spine. Binding restored using original contemporary cover. Frontispiece fully engraved with portrait of author within an imaginary composition; portrait of Cardinale d’Este, whom the work is dedicated to, follows with full page engraving. Includes 85 engravings 4 of which full page, showing human physiognomies compared to animals’ in order to demonstrate the relationship between physical aspects and moral features. Good and clean copy, in a nice state. Black stain on p. 97 and minor tear on p. 198. Some whitening on 3-4 pages which do no affect reading. Rare first edition of a pillar of modern anthropology, and one of the most popular essays of Italian Renaissance, with important influence during the following 300 years. First book to be printed in Vico Equense...

Artist: (after) Abraham van Diepenbeeck (Dutch, 1596-1675) Title: "Plate 38 (Methode et Invention Nouvelle de Dresser Les Chevaux)" Portfolio: "Methode...

'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...

G. B. Piranesi in his fifties was interested in archaeology and studied in Southern Italy where he produced drawings of Greek architecture

Artist: Dirk Stoop (Dutch, c.1615-1686) Title: "Het leeuwendeel (The Lion's Share)" Portfolio: The Fables of Aesop Year: 1665 (an earlier state of unknown states) Medium: Original Et...

"Tempio Della Pace" is an original engraving by Israel Silvestre. The title is printed below the miniature image. It shows a frontal view of the remains of the Temple of Peace in Rom...

"Near Tottenham Midd." is an original etching by John Thomas Smith at the top right of the image, reading "Drawn & Etch'd by J. T. Smith, Engraver of the Antiquities of London & Envi...

"English Country Fisherman by the Cottage" is an original etching by John Thomas Smith. The miniature etching features a country cottage with a thatc...

"Figure by the Cottage in Forest" is an original etching by John Thomas Smith. The miniature landscape shows a pair of cottages in the woods, nestled back into the trees. A river flo...

Bearded Man with Shadowed Face, Wearing a Scarf and a Plumed Hat, (3rd state), 1645-50 Etching on laid paper 152 x 184 mm.; 6 x 7 1/4 inches References: Bellini 45 Bartsch 52 Note...

Artist: Francesco Londonio (Italian, 1723-1783) Title: "Woman Spinner and a Shepherd with Flock" *Signed and dated by Londonio in the plate (printed signature) upper right Year: 1759 (first state of two) Medium: Original Etching on blue wove handmade paper Limited edition: Unknown Printer: Unknown Publisher: Likely the artist Londonio himself Reference: Scola No. 13 Sheet size: 7.25" x 5.5" Image size: 6.75" x 5.25" Condition: Presently archivally tipped into a storage mat. Some light foxmarks to sheet. Minor crease across the two sheeps' heads. It is otherwise a strong impression in very good condition Very rare Notes: The plate number "12" printed upper right in margin. "Sammlung Hämmer (Hammer Collection)" inkstamp in green on verso lower center. Biography: Francesco Londonio (Milan, 1723 – Milan, 1783) was an Italian painter, engraver, and scenographer, active mainly in Milan in a late-Baroque or Rococo style. Londonio trained as a painter under Ferdinando Porta and Giovanni Battista Sassi in Milan, but traveled to Rome and Naples. He studied engraving with Benigno Bossi. He is best known for his paintings and ectchings of rustic and pastoral landscapes and subjects, with both animals and peasants playing a dominating role over the landscape. This focus on genre themes was popular among the wealthy patrons of the time, specially in Northern Italy; and artists such as the Brescian painters Ceruti and Cifrondi worked with such themes. In his engravings, he recalls Gaetano Zompini. Londonio is also known for his scenography. An example, of this poorly conserved art form that still exists is a nativity scene on cut wooden shapes for the church of San Marco in Milan. The effect is a cheaper version of the naturalistic Sacri Monti scenes, which had been painted stucco statuary. It also can be seen as a cross between the holy scenes described above, and the theatrical set pieces, for example, those needed for the newly founded La Scala theater. The work at San Marco prompted Empress Maria Theresa of Austria...

Artist: Abraham Hondius (Dutch, c.1625-1691) Title: "Honden Jagen Op Een Beer (Hounds Hunting a Bear)" *Signed and dated by Hondius in the plate (print...