17th Century Prints and Multiples

Genesis 6 -Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco. About The Old Testament Story, 1607 ca. Passpartout included 29 x 39 cm The artwork i...

Genesis 5 -Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco. About The Old Testament Story, 1607 ca. Passpartout included 29 x 39 cm The artwork i...

Genesis 8 -Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco. About The Old Testament Story, 1607 ca. Passpartout included 29 x 39 cm The artwork i...

Samuel 17 - Old Testament Story is an Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout included 29 x 39 cm The artwork i...

Genesis 31 -Old Testament Story is an Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout included 29 x 39 cm The artwork i...

Exodous 14 - Old Testament Story is an Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout ...

Genesis 31 -Old Testament Story is an Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout i...

Samuele 11 - Old Testament Story is an original Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607 ca. Pas...

Samuele 8 - Old Testament Story is an original Etching print realized by the artist Giovanni Lanfranco after Agostino Carracci. About The Old Testament Story, 1607 ca. Passpartout...

Genesis 8 - Old Testament Story is an Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607ca. Passpartout in...

Genesis 32 - Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco. About The Old Testament Story, 1607ca. Passpartout included 29 x 39 cm The artwork...

Genesis 19 - Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco. About The Old Testament Story, 1607ca. Signed on the plate: Gio. L . Passpartout in...

Genesis 41 - Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco. About The Old Testament Story, 1607 ca. Passpartout included 29 x 39 cm The artwork...

Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco after Agostino Carracci About The Old Testament Story, 1607 ca. ...

The Profile is an etching on ivory-colored paper realized by anonymous Italian artist in 17th Century. Good conditions with slight foxing. The artwork is realized through deft smoo...

In the mid-seventeenth century, views of historic landscapes and classical structures were increasingly popular among print collectors, and artists like the Frenchman Israel Sylvestre were eager to fill that demand. In this example, Sylvestre captures a view of the Arch of Constantine...

Le Repos Pendant la Fuitre en Egypte is an original Lithograph realized by an unknown artist of Italian School in 17th Century. Good condition on a yellowed paper. No signature.

"Mythological Scene--Satyr & Goat Herder" is an etching by Italian artist Giovanni Benedetto Castiglione. It depicts a satyr lounging on the left and an approaching goat herder on th...

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...

"Mother & Child" is an original etching by Cornelis-Pietersz Bega. It depicts a mother and her child. Publisher: Pearce #51. 3" x 3" art 13 3/4" x 11 3/4" frame Cornelis Pietersz B...

Architecture is an original etching realized in the 17th Century by Jean Le Potre (1618-1682). Fair conditions with some cutaways. The artwork is depicted through soft strokes in d...

The Brain is a original etching realized as plate no. 41 of Andrea Vesalio's "De Humani Corporis Fabrica". The "De Humani Corporis Fabrica is commonly considered a major advance i...

Faun Parade is an original etching on paper realized by an Anonymous artist of the 17th Century. The state of preservation of the artwork ...

The Monkey is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions, except for some stains. Image Dimensions: 5 x 7 / 8 x 10 cm. Including a cream-colored cardboard passepartout, 34 x 50 cm. An exciting original print, with all the dignity of a mythological or epic story, represented with an incredible balance of black and white, light and shadow, and a typical Baroque dynamism. Antonio Tempesta, also known as Il Tempestino (Florence, 1555 - Rome, 1630), was an Italian painter and engraver of the early Baroque period. Antonio Tempesta trained in the culture of late Mannerism, with a naturalistic but also calligraphic taste, acquired from the frequentation of Giovanni Stradano, with whom he collaborated in the decoration of Palazzo Vecchio. Moving to Rome in 1573, he worked for Pope Gregory XIII, frescoing some maps of Rome in the Vatican, including the famous Map of Rome (1593). In the pontifical capital, he worked for many noble families and for important cardinals, such as Alessandro Farnese and Scipione Borghese. His works are in San Giovanni dei Fiorentini, at the villa in Caprarola, in Tivoli. He returned to Florence for a brief stay, where he collaborated with Alessandro Allori...

Interior Meeting is an original etching realized by Cornelis Meyssens ( 1640-1573). Good conditions, except for some foldings. Included a Passepartout: 34 x 49 cm The artwork repres...

Ox is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions. Image Dimensions:...

The King and the Queen is an original artwork realized by Gérard Audran in the second half of the XVII century. Original etching on paper. Signed on the lower right corner. Etching ...

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...

"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...

"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...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634-1692) St. Alban Hall, Aula St Albani, Merton College...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

We have the full series of 52 prints (including title page) from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below it click on "See all from this Seller" and search for 'Collaert' - or message us as they may not all have been uploaded yet. Theodoor Galle...

We have the full series of 52 prints (including title page) from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below i...

To see our other views and maps of England - including London, Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. David Loggan (1634-1692) Wadham College...

David Loggan (1634-1692) St John's College Oxford - Canterbury Quad Engraving 1675 31x50cm Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studying engraving in Danzig with Willem Hondius (1598-1652 or 1658) he moved to London in the late 1650s producing the engraved title-page for the folio 1662 Book of Common Prayer. Marrying in 1663 he moved to Nuffield, Oxfordshire in 1665 to avoid the Plague and was in 1668/9 appointed Public Sculptor to the nearby University of Oxford having been commissioned to produce bird’s-eye views of all the Oxford Colleges. He lived in Holywell Street as he did this. Oxonia illustrata was published in 1675, with the help of Robert White (1645-1704). Following its completion he commenced work on his equivalent work for Cambridge, Cantabrigia Illustrata which was finally published in 1690 when he was made engraver to Cambridge University. Oxonia illustrata also includes an engraving of Winchester College (sharing its founder – William of Wykeham – with New College) whilst Cantabrigia illustrata includes one of Eton College (which shares its founder – Henry VIII – with King’s College). Bird’s-eye views required a particular talent as an architectural perspectivist of that era as it was not until 1783 that the first living thing (a sheep, named Montauciel ‘climb to the sky’) was sent aloft by the Mongolfier brothers in a balloon. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition (on thicker paper and with a plate number in the bottom right-hand corner), those of Cambridge were printed in smaller numbers and no second edition was produced. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK Les Delices de la Grande Bretagne c. 1708. Edmund Hort New (1871-1931) produced a series of pen-and-ink drawings of views of Oxford that paid homage to Loggan showing the development of the city in the following two hundred years. They were turned into photoengravings by Emery Walker...

David Loggan (1634-1692) St Peter's College Oxford - New Inn Hall, Aula Novi Hospitii Engraving 1675 25x36cm Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studying engraving in Danzig with Willem Hondius (1598-1652 or 1658) he moved to London in the late 1650s producing the engraved title-page for the folio 1662 Book of Common Prayer. Marrying in 1663 he moved to Nuffield, Oxfordshire in 1665 to avoid the Plague and was in 1668/9 appointed Public Sculptor to the nearby University of Oxford having been commissioned to produce bird’s-eye views of all the Oxford Colleges. He lived in Holywell Street as he did this. Oxonia illustrata was published in 1675, with the help of Robert White (1645-1704). Following its completion he commenced work on his equivalent work for Cambridge, Cantabrigia Illustrata which was finally published in 1690 when he was made engraver to Cambridge University. Oxonia illustrata also includes an engraving of Winchester College (sharing its founder – William of Wykeham – with New College) whilst Cantabrigia illustrata includes one of Eton College (which shares its founder – Henry VIII – with King’s College). Bird’s-eye views required a particular talent as an architectural perspectivist of that era as it was not until 1783 that the first living thing (a sheep, named Montauciel ‘climb to the sky’) was sent aloft by the Mongolfier brothers in a balloon. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition (on thicker paper and with a plate number in the bottom right-hand corner), those of Cambridge were printed in smaller numbers and no second edition was produced. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK Les Delices de la Grande Bretagne c. 1708. Edmund Hort New (1871-1931) produced a series of pen-and-ink drawings of views of Oxford that paid homage to Loggan showing the development of the city in the following two hundred years. They were turned into photoengravings by Emery...

David Loggan (1634-1692) Frontispiece Public Schools Engraving 33x42cm Baptised in Danzig in 1634 his parents were English and Scottish. Studying engrav...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. David Loggan (1634-1692) Hall of the Blessed Virgin...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634-1692) New College...

Maerten de Vos after J Baptista Vrints Baptism Scene Engraving

"La Tempete" is an original etching by Claude Lorrain (Claude Gellee). This is Claude's earliest dated etching (1630). The work depicts a storm-tossed sea with ships on the verge of ...

Screenprint in colours with embossing and collage of gloss copper and mat pink metallic foil, 1976, on Rives BFK paper, signed and dated in pencil, numbered from edition of 30 (there...

REMBRANDT HARMENSZ. VAN RIJN 1606 Leiden Amsterdam 1669 Death Appearing to a Wedded Couple from an Open Grave 1639 drypoint and etching; 109 x 78 mm Bartsch 109, White/Boon only s...

Original Self-Portrait Etching by Rembrandt van Rijn (1606-1669) Etching on paper 2 ⅛ x 1 ¾ inches unframed (5.4102 x 4.445 cm) 14 ⅛ x 12 ½ inches framed (35.8902 x 31.75 cm) Description: Rembrandt van Rijn is one of the most celebrated Dutch painters of all time, and rose to prominence in the 17th century for his characteristic use of light and contrast to convey emotion and mood. Much of his artistic practice consisted of history paintings, portraits, and self-portraits, with his rich oil paintings...

Wayne Thiebaud Dark Gumball Machine, 1964/ 2017 Hard ground and soft ground etching 18h x 12w in

Engraving after David Vinckboons (Malines 1576-1629 Amsterdam), executed by Jan van Londerseel (Antwerp c. 1570-1624/25 Rotterdam)

Engraving after David Vinckboons (Malines 1576-1629 Amsterdam), executed by James Van Londerseel (Antwerp c. 1570 - 1624/25 Rotterdam)

Nemesis is an original burin by the old master Galle Philips (Haarlem, 1537-Antwerp, 1612), the plate n. 20 from the series "De deis gentium imagines iconical, aeneis tabulis for Philipp.Galle exaratae; et variis distichis ab Hug. Illustrated fable", Antwerp, 1581. Our specimen is printed on laid paper, glued on secondary support, trimmed within the impression. Inscriptions: in the lower margin "NEMESIS / Trux Nemesis ut iacto cites lightning flamma / Mortalesq docet reddere cuiq fuum." Bibliography: F.W.H. Hollstein, Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700 [volume VII] Fouceel – Gole (Amsterdam 1953), p.79, nos. 352–380 (for the entire series); Belgica typographica 1541–1600 (Nieuwkoop 1994), IV, p.538 no. 1206; Fortune: "all is but fortune", catalog for an exhibition held at the Folger Shakespeare Library, 18 January – 10 June 2000 (Washington, DC & Seattle 2000), p.36 (for Nemesis); Manfred Sellink and Marjolein Leesberg, The new Hollstein Dutch & Flemish etchings, engravings and woodcuts 1450–1700. Philips Galle...

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...