Old Masters Prints and Multiples

Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Stourbridge", "A View of Upton upon Severn, from Ryal Hill", "Bewdley", and "Tenbury" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Four Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Reference: Upcott III, page 1330 Sheet size (each): approx. 10" x 16.5" Image size (each): approx. 6.88" x 11.75" Condition: A few light handling creases. Have been professionally stored away for decades. They are all strong impressions in excellent condition Notes: Provenance: private collection - Aspen, CO. All four works were engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after drawings by himself. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in 1799. And, both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". Both "A View of Stourbridge" and "A View of Upton upon Severn, from Ryal Hill" have unidentified fleur-de-lis watermarks in the center of their sheets. "Bewdley" has an unidentified watermark in the center of its sheet resembling "XV" and "Tenbury" has no watermark. Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

Andreani, Andrea (Italian, about 1558–1610), after Andrea Mantegna (Italian, 1431-1506) Chiaroscuro woodcut in colors printed from four blocks on laid paper in dark brown, grey, and...

Artist: Rembrandt Van Rijn (Dutch, 1606-1669) Title: Self Portrait, Drawing at the Window Year: 1648 Medium: Etching Paper: Verge paper Image (plate mark) size: 6.35 x 5.25 inch...

Artist: Rembrandt Van Rijn (Dutch, 1606-1669) Title: Christ and the Woman of Samaria Year: 1634 Medium: Etching Paper: Verge paper Image (plate mark) size: 4.75 x 4.25 inches Fr...

Artist: Rembrandt Van Rijn (Dutch, 1606-1669) Title: Bust of a Man Wearing a High Cap, The Artist's Father Year: 1630 Medium: Etching Paper: Verge paper Image (plate mark) size: ...

by Jacopo Caraglio (after Rosso Fiorentino) Rome: Carlo Losi, 1526. Engraving on cream laid paper, 8 1/2 x 4 3/8 inches, 215 x 110 mm), thread margins. In very good condition with a...

The Archangel Raphael Leaving Tobias' Family is an etching by Rembrandt executed in 1641. This etching is a proof of the 3rd state (of 4) before of the diagonals on the ground at the...

Etching and drypoint on heavy cream laid paper, 3 3/4 x 3 1/4 inches (96 x 83 mm), narrow margins. In very good condition with some minor surface soiling. [Björklund's second state ...

James Seymour (1702-1752) 'Star', A running horse belonging to His Grace the Duke of Bridgewater Mezzotint by R. Houston Image size 10 x 14 in Framed size 13 x 17 in James Seymour w...

Etching, excellent proof of II state on IV, before the retouching of the ground and the vault on the right, margin line. Ref. Bartsch, Hollstein 94; Hind 301; New Hollstein 312; Sto...

Original etching by Salvator Rosa (Naples 1615 - Rome 1673), from the celebrated Figurine series, depicting a soldier holding a shield adorned with the head of Medusa. Dated to the a...

This is a framed 18th century Giovanni Battista Piranesi etching entitled: "Veduta interna del Sepocro di Santa Costanza, fabbricat...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta del Mausoleo d'Elio Adriana ora chiamato Castello S. Angelo nella parte opposta alla Facciata de...

Woodcut on laid paper, 8 3/8 x 9 1/8 inches (212 x 233 mm), the full sheet. In excellent condition with text and portraits of Empedocles, Sapho, Zeuxis and others on the verso, as is...

James Seymour (1702-1752) Leading Out a Hunter Mezzotint by Thomas Burford Image size 10 x 14 in Framed size 13 x 17 in James Seymour was an English artist renowned for his equestri...

Bretherton, James (After Rembrandt van Rijn). Christ and the Woman of Samaria Among Ruins. London: c 1775. Etching on light cream laid paper, 4 3/4...

La lealtad - from Los Proverbios is an original black and white etching realized by Francisco Goya (1746-1828). The artwork is the plate n. 17 from of...

The four plates in this "Four Times of the Day" set were created utilizing both engraving and etching techniques by William Hogarth in 1738. Hogarth's original copper plates were refurbished where needed by James Heath and these engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's original copper plates were used for printing. Most were melted down during World War I for the construction of bombs. Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. The inscription below each print reads "Invented Painted & Engraved by Wm. Hogarth & Publish'd March 25. 1738 according to Act of Parliament". These large folio sized "Four Times of the Day" engravings/etchings are presented in complex gold-colored wood frames with black bands and scalloped gold inner trim. A majority of each thick impressive frame is covered with glass applied near the outer edge. Each frame measures 25.75" high, 22.25" wide and 1.88" deep. There are a few small dents in the edge of these frames, which are otherwise in very good condition. "Morning" has two focal areas of discoloration in the upper margin and some discoloration in the right margin, a short tear in the left margin and a short tear or crease in the right margin. "Noon" has a spot in the upper margin that extends into the upper image, but it is otherwise in very good condition. "Evening" has a faint spot in the upper margin, but it is otherwise in very good condition. "Night" is in excellent condition. The "Four Times of the Day" 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 Victoria and Albert Museum. Through this series Hogarth is portraying early 18th century London street life at "Four Times of the Day". His characters are exhibiting their personalities, quircks, strange activities, but he also wants to draw attention the disparities between the wealthy aristocracy and the common working class. Plate 1, "Morning" depicts morning in Covent Garden in the winter in front of Tom King...

Andreani, Andrea, after Andrea Mantegna The Triumph of Caesar: Plate IV of IX 1599. Chiaroscuro woodcut in colors printed from four blocks on laid paper in dark brown, grey, and thr...

Hand-colored print of the engraving by Antoine Alexandre Joseph Cardon of the original painting by Gabriele Ricciardelli. Edizioni Pontevecchio. Lily logo and a brush with the inscr...

Chiesa dedicata a Sant’Ignatio is a wonderful black and white etching on cream-colored paper realized in the second half of the XVII century by Giovanbattista Falda. Signed on plate on the lower left margin "Giò Batta...

Agostino CARRACCI, after Jacopo TINTORETTO Sapientia Martem depellente Pax et Abundantia cogaudent; Mars driven away from Peace and Abundance by Minerva Engraving on handmade laid ...

The Ponte and Castel S. Angelo Veduta del Ponte e Castello Sant' Angelo Etching, 1754 Signed in the plate lower right above the caption From: Vedute di Roma A proper Roman printing w...

Chiton is an original etching realized by Francisco Goya and published for the first time in 1799. Etching on paper. The plate belongs the Third Edition of "Los Caprichos" that has...

The Academy of Plato Plato and His Disciples Etching and drypoint c. 1662, printed c. 1710 Signed in the plate lower left Inscribed lower left: 'In villa ab Academo attributa sua[m]...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta dell'interno dell'Anfiteatro Flavio detto il Colosseo" (View of the interior of the Flavian Amph...

Albrecht Dürer, German (1471 -1528) - Diptych from First Edition of The Ship of Fools, Year: 1494, Medium: Woodcut and Engraving, Image Size: 7 x 12.25 inches, Frame Size: 10.75 ...

James Seymour (1702-1752) 'Ironsides' a famous Hunter belonging to the Earl of Halifax Mezzotint by R. Houston Image size 9 1/4 x 13 1/4 in Framed size 12 x 16 in James Seymour was ...

Piazza Navona allagata solito farsi nelle Feste di Agosto Etching, 1752 Signed in the plate lower right (see photo) From: Della Magnificenze di Roma Antica e Moderna ( The Magnificense of Ancient and Modern Rome) , (1747-1761) Volume II, The Main Squares and Obelisks, columns and other ornaments, 1752, Plate No. 26 Della Magnificenze di Roma Antica e Moderna_ (1747-61), a collection of 238 plates that was published in ten volumes. Vasi recorded all types of architecture and organized these images of contemporary Rome by subject, with each volume representing a different category of architecture. This comprehensive project provides one of the most complete views of eighteenth-century Rome Condition: Excellent Image/Plate size: 8 .25 x 12.63 inches Sheet size: 11 x 15 7/8 inches Vasi was Giovanni Battista Piranesi’s teacher. Piranesi (1720-1778) entered Vasi’s studio as an apprentice at age 20 c. 1740. Piranesi left Vasi’s employment after stabbing Vasi over the perception that Vasi was withholding secrets of the etching process. Giuseppe Vasi was an Italian engraver and painter born and trained in Sicily. He received a classical education in his hometown of Corleone and trained as a printmaker in nearby Palermo, perhaps under the tutelage of the etchers Antonino Bova and Francesco Cichè. He moved to Rome in 1736, already an established printmaker, and spent most of his career documenting the urban landscape of the city in engravings. Through his patron, the politically and culturally influential Cardinal Troiano Acquaviva d’Aragona, Vasi met other artists working in Rome, such as Sebastiano Conca, Ferdinando Fuga, and Luigi Vanvitelli. He was also influenced by his predecessors, including Giovanni Paolo Panini, Giovanni Battista Falda...

Complete series of 20 original black and white etchings on oblong folio and laid paper, in first state before numeration. On frontispiece with date “1763”, dedication to Prince Marco Foscareno and name and address of Ludovico Furlanetto. Each plate is titled and signed on plate "Jo. Bap. Brustoloni sculp." on the lower right margin. Complete title of the series: Prospectuum aedium, viarumque insigniorum Urbis venetiarum nautico certamine, ac nundinis adiectis. Tomus Primus, tabulas XII complectens, quas Antonius Canale coloribus expressit – Joannes Baptista Brustolon aere incidit. Serenissimo Principi D.D. Marco Foscareno Egregio, emerito, sapientissimo Augustae Republicae Duci D.D.D. Anno AE C. 1763 ab V.C. 1341. This series is considered the most important one by Brustolon after Canaletto (from the engravings of Visentini), and was edited in a first version of 12 tables and in a second version of 22 tables. However, Succi affirms that the I state series includes just 20 tables, and the missing two vary from suite to suite so that this series can be considered complete. Very fresh and bright sheets in wide margins, with restored little tear on 4 sheets and a very light vertical fold on center. Papers show the following watermarks: Big cartouche with half-moon Big cartouche with letters “FO” and “AS” Bound and ripples on paper. In detail: Prospectuum Aedium Viarumque Insignorum Ubis Venetiarum is one of the finest of Venetian topographical print suites, equal in relevance to the publications of Carlevarijs, Canaletto-Visentini, and Marieschi, preciously rare, especially in the first edition (of four) with all plates in first state and in excellent state of preservation. Ten of its twenty vedute of the Serenessima derive from the paintings of Canaletto, drawn and engraved by Antonio Visentini, adapted to a larger size by Brustolon. The Bellunese artist extended the views and enriched the landscapes with new objects and figures that animate the scenes. Other four views are deeply inspired by Michele...

An original hand colored copperplate engraved map entitled in Latin "Archiepiscopatus Maghdeburgensis et Anhaltinus Ducatus cum terris adjacentibus", published in Amsterdam in 1640 i...

Beautiful proof of I state on III before the white space under the sword is covered. Without Margins. Very good condition. Ref. Bartsch 92; Biörklund 40-B; Hollstein (White and Bo...

JOHANNES JANSSON (1588 - 1664) PERU, engraving with early coloring. Platemark 15 1/8 x 19 3/8 inches, sheet 17 x 20 1/2 A nice example of one of the earliest maps of Peru. From the ...

Engraving on cream laid paper, 8 x 5 7/8 inches (202 x 149 mm), trimmed at the platemark. Adhered at each corner to a small sheet of archival laid paper. Horizontal edge loss at the ...

After Hubert Goltzius (Dutch, 1526-1583) Maximilian; Frideri; Hadrian; and Antoninus Four chiaroscuro medallion portrait woodcuts of emperors in sepia tones c.1557, the diameter of each print 18.5cm overall frame dimension approximately 54 x 54cm Provenance: Trowbridge Gallery

Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Pershore, from Pensham hill", "A View of Shipston upon Stour", and "Kidderminster" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Three Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Reference: Upcott III, page 1330 Sheet size (each): approx. 10.13" x 16.75" Image size (each): approx. 7" x 11.88" Condition: A few light handling creases. Have been professionally stored away for decades. They are all strong impressions in excellent condition Notes: Provenance: private collection - Aspen, CO. All three works were engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after drawings by himself. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in (1799). And both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". All three, "A View of Pershore, from Pensham hill", "A View of Shipston upon Stour", and "Kidderminster" have an unidentified watermark in the center of their sheets resembling "XV". Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

GIOVANNI BATTISTA PIRANESI (Italian 1720-1778) VEDUTA DEGLI AVANZI De’MAUSOLEI E DELLE FABBRICHE…c 1756 (Hind 83; Focillon 20.A.293; Giesecke 116; Wilton-E...

The Garden of Love (after Peter Paul Rubens [1577-1640]) Woodcut diptych, c. 1633-1636 Each of the two sheets is signed in the plate lower right A posthumous impression with tiny wor...

Large Marine Scene Dutch or Flemish, 20th century color print on canvas, framed framed: 27 x 34 inches canvas: 20 x 27.5 inches provenance: private collection, UK condition: very goo...

Adoration of the Shepherds after Peter Paul Rubens (Flemish, 1577-1640), engraved by Pierre-Franois Basan (French, 1723-1797), engraving, c. 1750, in black on ivory laid paper, 282 x 200 mm., with small margins. In very good condition. A fine proof impression, before letters. A draft printing of letters is visible, lower left, below image: “P P Rubens inv.”; lower right: “F. Basan excudit”. Basan’s engraving after Rubens may be modeled after another engraving of the Adoration after Rubens by Theodor Galle (1571-1633), which appeared as an illustration to the 1618 reprint of 1616 edition of “Missale Romanum...

Piazza del Popolo con Obelisco Egizio Etching, 1752 Signed in the plate lower left (see photo) From: Della Magnificenze di Roma Antica e Moderna ( The Magnificense of Ancient and Modern Rome) , (1747-1761) Volume II, The Main Squares and Obelisks, columns and other ornaments, 1752, Plate No. 21 Della Magnificenze di Roma Antica e Moderna_ (1747-61), a collection of 238 plates that was published in ten volumes. Vasi recorded all types of architecture and organized these images of contemporary Rome by subject, with each volume representing a different category of architecture. This comprehensive project provides one of the most complete views of eighteenth-century Rome Condition: Excellent Image/Plate size: 8.25 x 12.63 inches Sheet size: 11 x 15 7/8 inches Vasi was Giovanni Battista Piranesi’s teacher. Piranesi (1720-1778) entered Vasi’s studio as an apprentice at age 20 c. 1740. Piranesi left Vasi’s employment after stabbing Vasi over the perception that Vasi was withholding secrets of the etching process. Giuseppe Vasi was an Italian engraver and painter born and trained in Sicily. He received a classical education in his hometown of Corleone and trained as a printmaker in nearby Palermo, perhaps under the tutelage of the etchers Antonino Bova and Francesco Cichè. He moved to Rome in 1736, already an established printmaker, and spent most of his career documenting the urban landscape of the city in engravings. Through his patron, the politically and culturally influential Cardinal Troiano Acquaviva d’Aragona, Vasi met other artists working in Rome, such as Sebastiano Conca, Ferdinando Fuga, and Luigi Vanvitelli. He was also influenced by his predecessors, including Giovanni Paolo Panini, Giovanni Battista Falda...

FRANCISCO de GOYA y LUCIENTES (1746 -1828) OBSEQUIO á el MAESTRO (‘A gift for the master’) Plate 47 from the 1st edition of Los Caprichos (Blas, ...

King, Daniel (with Wenceslaus Hollar) Ordinis Benedictini monialis; Saint Thecla of Kitzengen c 1650. Etching with engraving on cream laid paper with an indiscernible watermark wit...

Artist: Lambrecht Hopfer (German, Active c. 1525-1550) Title: "The Crucifixion (Christ on the Cross)" Portfolio: (after) The Engraved Passion *Issued unsigned, though monogram signed by Hopfer in the plate (printed signature) lower right Circa: 1530 (second state of three, published c. 1690) Medium: Original Etching on laid paper Limited edition: Unknown Printer: The Hopfer family, Augsburg, Germany; (David Funck, Nuremberg, Germany) Publisher: The Hopfer family, Augsburg, Germany; (David Funck, Nuremberg, Germany) Reference: Bartsch No. VIII.527.12; Hollstein No. 12.II Framing: Recently framed, the sheet is floated over, and top-matted with a 100% cotton fabric rag mat from Holland in a wood moulding and Museum glass Framed size: 14.88" x 13.88" Sheet size: 5.5" x 3.63" Condition: Trimmed to platemark. A few tiny professional repairs: at elbow of Jesus's right arm and the inside thigh of Jesus. Some light skinning upper right corner and lower right area. It is otherwise a strong impression in good condition Very rare Notes: Provenance: private collection - Green Bay, WI; acquired from Sotheby's, New York, NY in c. 2015. The artist Lambrecht Hopfer's printed monogram signature "LH" lower right. The printer/publisher David Funck's (plate) number "182" lower right. This etching is after Albrecht Dürer’s 1511 engraving "The Crucifixion (Christ on the Cross)", ("Dürer-Katalog" - Meder No. 13, page 73). Printed in black from an iron plate. The image depicts Christ on the cross at center, the Virgin at left, two Maries behind her, St. John standing at right, a Roman solider behind him. It is after the eleventh plate of Dürer's sixteen plates from his 1507-1513 "The Engraved Passion" series, ("Dürer-Katalog" - Meder No. 3-18, page 70-74). "The print was originally designed without the number engraved in the lower margin (First state: Lambrecht Hopfer, c. 1530). The Hopfers' descendant David Funck (Nuremberg, 1642–1705) acquired over two hundred of their original iron plates, engraved numbers into them, and re-printed them around 1686-1700. The "182" indicates that "The Crucifixion" was the 182nd print in Funck’s series (Second state: David Funck, c. 1686-1700). About a century later, 92 of these plates were acquired by Carl Wilhelm Silberberg in Frankfurt and printed for the third and final time in the book "Opera Hopferiana", of which "The Crucifixion" was the 90th print (Third state: Carl Wilhelm Silberberg for "Opera Hopferiana", 1802)". - Elizabeth Upper, Cambridge University Library, University of Cambridge, Cambridge, UK Biography: Lambrecht (Lambert) Hopfer (Active c. 1525-1550) was a German Old Masters printmaker. He was the brother of Hieronymus Hopfer (Active c. 1520-1530) and son of Daniel Hopfer...

(after) JOSEPH MALLORD WILLIAM TURNER (1775 - 1851) THE DELUGE, 1828. Mezzotint, Engraved by I. P. Quilly after a painting by J. M.W. Turner R.A.. Image ...

Albrecht Durer, After by Amand Durand, German (1471 - 1528) - La Nativite, Year: 1873, Medium: Heliogravure, Size: 8 x 5 in. (20.32 x 12.7 cm), Printer: Amand Durand, Description...

Original Ajanta India vintage travel poster from 1959. Archival linen backed in Grade A condition, ready to frame. Note that a later edition of this poster was printed but the im...

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...

Veduta dell'esterno della gran Basilica di S. Pietro in Vaticano (View of the Exterior of St. Peter's Basilica in the Vatican) Etching, 1748 From the first printing of the "Vedute di Roma" An early impression with strong contrasts Before the price and the addition of numbers in the later states. A view of Michelangelo's done from behind the Piazza, redesigned in 1547 Condition: Excellent Plate size: 15 3/4 x 24 3/4 inches Reference: Robison 5 a/g Hind 5 i/VII Focillon 54.789 Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and the largest church in the world. While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome (these equivalent titles being held by the Archbasilica of Saint John Lateran in Rome), St. Peter's is regarded as one of the holiest Catholic shrines...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - La Mort de la Vierge (B99), Year: 1878 (of original 1639), Medium: Heliogravure, Size: 9.25 x 7.5 in. (23.5 x 19.0...

Still Life from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Fiorillo in the 18th Century. Signed on the plate. Good conditions with some folding and foxi...

Disparate matrimonial - from Los Proverbios is an original black and white etching realized by Francisco Goya (1746-1828). The artwork is the plate n. ...

This large framed 18th century etching by Giovanni Battista Piranesi is entitled "Vaso antico di Marmo adornato di eccellenti Sculture si nella parte anteriere che nell' opposta, le ...

Marble relief of a trireme from the Temple of Fortuna, Praeneste, from Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Ba...

Two images of Queen Catharina of Braganza; one before her marriage to King Charles II, the other after, as Queen of Great Britian. Engraved by Matthiäus Merian, father of Maria Sybli...

The execution of Charles I (1600-1649) at Whitehall, January 30th 1649, in front of the Banqueting House. The executioner holding the head of Charles up to the crowd below. Engravin...

Image dimensions: 21 x 27 cm. Liber Veritatis - Plate 190 is a beautiful black and white etching and aquatint on paper realized by the Italian artist Ludovico Caracciolo, after Clau...

View of Castel of Acqua Felice is an original etching realized by the italian artist Giovanni Battista Piranesi in 1751. Very precoius and rare lifetime impression. Roman edition. I...

Disparate General- from Los Proverbios is an original black and white etching realized by Francisco Goya (1746-1828). The artwork is the plate n. 9 fr...

Black and white etching on wire rod paper, representing the fight of Hercules against Hydra. Beautiful plate with very fresh impression, from the volume “Le Temple des Muses”, publi...