18th C. Portrait of a Woman in Henry VIII's Court from a 16th C. Holbein Drawing

1797

This is an 18th century engraved portrait of "Edward Stanley" created by Francesco Bartolozzi (1728–1815), after a drawing by Hans Holbein the Younger (1497- 1543) in the 16th century. Holbein was the official artist in the court of King Henry VIII. Bartolozzi used both etching and stipple engraving techniques to create the work which was published by John Chamberlaine in London in 1793 in "The Book of Imitations of Original Drawings by Hans Holbein in the Collection of His Majesty". Edward Stanley, 3rd Earl of Derby...

This is an 18th century engraved portrait of Brooke Cobham, a nobleman in King Henry VIII's court, created by Francesco Bartolozzi (1728–1815), after a drawing by Hans Holbein the Younger (1497- 1543) in the 16th century. Holbein was the official artist in the court of King Henry VIII. Bartolozzi used both etching and stipple engraving techniques to create the work which was then was printed in color on pink paper and hand finished with watercolor. It was published by John Chamberlaine in London in 1793 in "The Book of Imitations of Original Drawings by Hans Holbein in the Collection of His Majesty". Sir George Brooke, Baron Cobham (1497-1558) was a prominent member of King Henry VIII's royal court. He became a member of parliament in 1529 and served as a peer in the trial of Queen Anne Boleyn, which resulted in her beheading. He was rewarded for his political and military service to King Henry and Britain with land, castles and former monasteries and was made a Knight of the Garter, a prestigious membership limited to the king and a very limited number of prominent British subjects. As a member of the Privy Council following the death of young King Edward VI (Henry VIII's son), he fell out of favor when he signed a ruling disinheriting both of Henry VIII's daughters, Mary and Elizabeth, in favor of Lady Jane Grey...

This is an 18th century engraved and etched portrait of Johannes Wesselius by Jacobus Houbraken after a painting by Jan Maurits Quinkhard. It depicts a half-height image of Wesselius...

A grouping of three antique engravings depicting statues found in the Vatican, including: "Pescatore" (Fisherman), "Pastore" and "Istrione", "Gia nella Villa Mattei" (Found in the Vi...

This is an early 18th century portrait of Sir John Powell entitled "The Honorable Sr. John Powell, Knight. one of the Justices of her Majesties' Court of Common Pleas. Ano. D 1711". It was engraved and published by John King in London in 1711, after an earlier work by William Sherwin. The engraving depicts a bust length portrait of Powell wearing an elaborate fir-trimmed robe and collar. The portrait is encompassed in an ornate oval frame, sitting on a pedestal with an impressive coat-of-arms below. This engraved portrait is printed on laid, chain-linked watermarked cream-colored paper The sheet measures 15.25" high and 11.38" wide. It is adhered to an archival thick card at the upper corners, There is a 1/8" tear at the lower edge of the sheet, but the print is otherwise in very good condition. This engraving is held by museums and institutions, including the British Museum and the Harvard University Art Museum. Sir John Powell (1632-1696) was an English lawyer and judge who served as a justice of the King's Bench from 1683 until his death. He was born in Glamorganshire, Wales, and studied at Jesus College, Oxford, before being called to the bar at the Middle Temple in 1656. Powell was known for his staunch support of the monarchy and the Church of England, and he played a prominent role in the trial of the Whig leader Lord William Russell in 1683, which resulted in Russell's execution for his alleged involvement in a plot to assassinate King Charles II. Powell was also involved in the trials of several other prominent Whig politicians, including Algernon Sidney and Titus Oates. In addition to his work as a judge, Powell was also a member of Parliament for various constituencies throughout his career, and he served as Solicitor General and Attorney General for Wales under King James II. However, he opposed James's efforts to promote Catholicism and supported the Glorious Revolution of 1688, which led to James's overthrow and the installation of William and Mary as joint monarchs. Powell was known for his intellectual rigor and his legal expertise, and he authored several influential legal treatises during his lifetime. He was widely respected by his peers and by the legal community as a whole, and his legacy as a jurist and judge continues to be celebrated today. William Sherwin (1645-1709) was an English engraver who worked during the late 17th and early 18th centuries. He was born in Chesterfield, Derbyshire, and is known for his high-quality engravings of various subjects, including portraits, landscapes, and architectural views. Sherwin was trained as an engraver and worked as an apprentice to the renowned engraver Robert White. After completing his training, he went on to establish his own studio in London, where he produced a significant body of work over the course of his career. One of Sherwin's most famous works is his engraving of the portrait of John Locke...

This is a very rare early 18th century old master religious themed engraving entitled "Les Mages...Trouverent l'Enfant avec Marie sa Mere, et se prosternant entere ils l'adorent Puis ouvrant leurs tresors ils tuy offrirent pour present de lor de l'encens et de la myrrhe" by S. Vale after Calmaret, published in Paris by Pierre Drevet (1663-1738). The scene depicts the Magi bowing before Jesus, who is held by his mother Mary, and bringing him gifts of gold, frankincense and myrrh to demonstrate their adoration and respect. Winged cherubs fly overhead and a ray of light is focused on the spiritual couple. A cattle stall and buildings are in the background and a crown and scepter are dropped in the foreground, symbolically demonstrating that these nobles place Jesus above their titles and rank. Little is known about the artist Calmarat or the engraver S...

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, 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...

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...

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...

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...