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Old Masters Prints and Multiples

OLD MASTERS

Encompassing centuries of change in Europe between 1300 and 1800, from booms of prosperity to bloody revolutions, Old Masters describes a wide range of artists. The informal term was derived from the title of an artist who trained in a guild long enough to become a master, such as Leonardo da Vinci, who studied in a Florence painters’ guild. However, Old Masters paintings, prints and other art is now used to refer to work made by any artist with a high level of skill in painting, drawing, sculpture or printmaking who worked during this era.

The 15th century’s expansive trade and commerce spread culture across borders. A vibrant period of art emerged, bolstered by studies of anatomy and nature that influenced a new visual realism. From Raphael and Michelangelo in the Renaissance to Rembrandt van Rijn and Johannes Vermeer in the Dutch Golden Age, artists expressed emotion, naturalism, color and light in new ways. El Greco and Paolo Veronese were leaders in the dramatic style of Mannerism, while Caravaggio and Peter Paul Rubens demonstrated the movement and meticulous detail of Baroque art.

Historically, most attention was concentrated on male artists, but recent research and exhibitions have elevated the impactful work of women such as Rachel Ruysch and Artemisia Gentileschi. In late-18th-century France, female artists like Adélaïde Labille-Guiard and Élisabeth Vigée Le Brun were prominent names. Nevertheless, access to the academies and guilds was highly restricted for women, and even those able to establish practices were expected to adhere to portraits and still lifes rather than the grand history paintings being created by men.

Find a collection of Old Masters prints, paintings, drawings and watercolors and other art on 1stDibs.

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Style: Old Masters
Set of Four Engravings from Nash's "History of Worcestershire" /// Landscape Art
Set of Four Engravings from Nash's "History of Worcestershire" /// Landscape Art

Set of Four Engravings from Nash's "History of Worcestershire" /// Landscape Art

By Treadway Russell Nash

Located in Saint Augustine, FL

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 Sheet size (each): approx. 10" x 16.5" Image size (each): approx. 6.88" x 11.75" Reference: Upcott III, page 1330 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...

Category

1780s Old Masters Prints and Multiples

Materials

Laid Paper, Engraving

De wapenhandelinghe van de ruiters; Plate 10 from The Riding School, or Exercise
De wapenhandelinghe van de ruiters; Plate 10 from The Riding School, or Exercise

De wapenhandelinghe van de ruiters; Plate 10 from The Riding School, or Exercise

By Jacob de Gheyn II

Located in Middletown, NY

A 16th century image from the state-sponsored military manual that revolutionized European warfare tactics. Leiden: 1599. Engraving on laid paper with a partial chalice and grapes ...

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16th Century Old Masters Prints and Multiples

Materials

Laid Paper, Engraving

Entombment; Plate 2 from The Passion of the Christ
Entombment; Plate 2 from The Passion of the Christ

Entombment; Plate 2 from The Passion of the Christ

By Hendrick Goltzius

Located in Middletown, NY

Celebrated for the "sfumato" effect that Goltzius achieved through engraving alone, the incredibly fine lines in this work create the illusion of soft, glowing light and atmospheric ...

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16th Century Old Masters Prints and Multiples

Materials

Engraving, Laid Paper

The Flight into Egypt
The Flight into Egypt

The Flight into Egypt

By Hans Lautensack

Located in Middletown, NY

Etching on handmade cream laid paper with a deckle edge, and an elaborate and large watermark of a crowned figure with a harp, and letters A S, 11 3/4 x 8 inches (298 x 204 mm); shee...

Category

16th Century Old Masters Prints and Multiples

Materials

Handmade Paper, Laid Paper, Etching

VEDUTA del SEPOLCRO della Famiglia PLAUZIA per la strada che Conduce da Roma....
VEDUTA del SEPOLCRO della Famiglia PLAUZIA per la strada che Conduce da Roma....

VEDUTA del SEPOLCRO della Famiglia PLAUZIA per la strada che Conduce da Roma....

By Giovanni Battista Piranesi

Located in Santa Monica, CA

GIOVANNI BATTISTA PIRANESI (Italian 1720-1778) VEDUTA del SEPOLCRO della Famiglia PLAUZIA per la strada che Conduce da Roma a Tivoli vicino a Ponte Lugan...

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1750s Old Masters Prints and Multiples

Materials

Etching

Very Large Marine Shipping Scene Impressive Statement Piece
Very Large Marine Shipping Scene Impressive Statement Piece

Very Large Marine Shipping Scene Impressive Statement Piece

Located in Cirencester, Gloucestershire

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...

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20th Century Old Masters Prints and Multiples

Materials

Color

Hadrian's Mausoleum, Castel S. Angelo: A Framed 18th Century Etching by Piranesi
Hadrian's Mausoleum, Castel S. Angelo: A Framed 18th Century Etching by Piranesi

Hadrian's Mausoleum, Castel S. Angelo: A Framed 18th Century Etching by Piranesi

By Giovanni Battista Piranesi

Located in Alamo, CA

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...

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1750s Old Masters Prints and Multiples

Materials

Etching

Four Framed Hogarth Engravings "Four Times of the Day"
Four Framed Hogarth Engravings "Four Times of the Day"

Four Framed Hogarth Engravings "Four Times of the Day"

By William Hogarth

Located in Alamo, CA

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...

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Mid-18th Century Old Masters Prints and Multiples

Materials

Engraving, Etching

Ancient Roman Fresco/Naval Battle - Original Etching by V. Aloja - 18th Century

Ancient Roman Fresco/Naval Battle - Original Etching by V. Aloja - 18th Century

By Vincenzo Aloja

Located in Roma, IT

Ancient Roman Fresco / Naval Battle from the series "Antiquities of Herculaneum", is an original etching on paper realized by Vincenzo Aloja in the 18th Century. Signed on the plat...

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18th Century Old Masters Prints and Multiples

Materials

Etching

Le Lévrier  - Etching by Jacques de Sève - 1771

Le Lévrier - Etching by Jacques de Sève - 1771

By Jacques de Seve

Located in Roma, IT

Buffon, Histoire Naturelle, 1767–1771 – Tom. V, Pl. XXVII (p. 300): Le Lévrier Copper engraving depicting Le Lévrier (Greyhound) standing in elegant profile within a landscaped esta...

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1770s Old Masters Prints and Multiples

Materials

Etching

Frankfort, Germany: A 16th Century Hand-colored Map by Braun & Hogenberg
Frankfort, Germany: A 16th Century Hand-colored Map by Braun & Hogenberg

Frankfort, Germany: A 16th Century Hand-colored Map by Braun & Hogenberg

By Franz Hogenberg

Located in Alamo, CA

This is a 16th century original hand-colored copperplate engraved map of Frankfort, Germany entitled "Francenbergum, vel ut alij Francoburgum Hassiae Opp" by Georg Braun & Franz Hogenberg, from their famous city atlas "Civitates Orbis Terrarum", published in Cologne, Germany in 1595. This is an English translation of an excerpt from the original text in the atlas: "Frankenberg or, according to others, Francoburgum, a town in Hesse. Charlemagne vested the town of Frankenberg with many freedoms and privileges, which it still enjoys to this day, and on account of its valiant and victorious soldiers awarded a signet, upon which there formerly appeared a golden castle with a tower, together with the letter F and a golden crown. Frankenberg, seen here from the northeast, lies on a hill above the River Eder. The hillside is covered with fields neatly separated by bushes and fences. Soaring above the town is the massive Liebfrauenkirche, which was modelled on St Elizabeth's church in Marburg. The New Town was founded in 1335 at the foot of the hill (right) and merged with the Old Town as late as 1556. Frankenberg was founded by Conrad of Thuringia in 1233/34 to prevent the archbishops of Mainz from expanding their sphere of influence...

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16th Century Old Masters Prints and Multiples

Materials

Engraving

Ancient Roman Fresco Herculaneum - Original Etching by G. Morghen - 18th Century

Ancient Roman Fresco Herculaneum - Original Etching by G. Morghen - 18th Century

By Giovanni Morghen

Located in Roma, IT

Ancient Roman Frescofrom the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Morghen in the 18th Century. Signed on the plate. Good conditions exce...

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Late 18th Century Old Masters Prints and Multiples

Materials

Etching

The Bathers ("De Zwemmertjes")
The Bathers ("De Zwemmertjes")

The Bathers ("De Zwemmertjes")

By Rembrandt van Rijn

Located in New York, NY

Etching and drypoint on laid paper, 1651. New Hollstein's third, and final, state. Full sheet size 5.38 x6.5 inches. Frame size 14.25 x 16.75 inches. Catalogue raisonné references...

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1650s Old Masters Prints and Multiples

Materials

Drypoint, Etching

Royal Hospital att Greenwich to the River /// "Vitruvius Britannicus" Engraving
Royal Hospital att Greenwich to the River /// "Vitruvius Britannicus" Engraving

Royal Hospital att Greenwich to the River /// "Vitruvius Britannicus" Engraving

By Colen Campbell

Located in Saint Augustine, FL

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Royal Hospital att Greenwich to the River" (Vol. 1, Plates 86, 87) Portfolio: Vitruvius Britannicus; or The British Architect, Co...

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1710s Old Masters Prints and Multiples

Materials

Laid Paper, Engraving, Intaglio, Etching

Piazza del Popolo con Obelisco Egizio
Piazza del Popolo con Obelisco Egizio

Piazza del Popolo con Obelisco Egizio

By Giuseppe Vasi

Located in Fairlawn, OH

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...

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1750s Old Masters Prints and Multiples

Materials

Etching

The Three Oaks
The Three Oaks

The Three Oaks

Located in Middletown, NY

A well-inked impression of Ruisdael's finest Haarlem-period etching. Amsterdam: Franz van Wyngaerde, 1649. Etching on buff cream laid paper, 5 1/8 x 6 inches (130 x 153 mm), the ful...

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Mid-17th Century Old Masters Prints and Multiples

Materials

Laid Paper, Etching

Sleeping Herdsman by Charles Amand-Durand
Sleeping Herdsman by Charles Amand-Durand

Sleeping Herdsman by Charles Amand-Durand

By Rembrandt van Rijn

Located in Middletown, NY

A an impression after Rembrandt's only state of this image. Paris: 1644. Etching and engraving on high quality buff wove paper 4 7/8 x 4 1/2 inches (124 x 114 mm); sheet 12 5/8 x 1...

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Mid-17th Century Old Masters Prints and Multiples

Materials

Laid Paper, Etching, Engraving

Portrait du Prince de Phalsbourg

Portrait du Prince de Phalsbourg

By Jacques Callot

Located in Chicago, IL

Watermark: Lion and Star (Lieure 38) References: Lieure No. 505 Notes: An early impression of the only state of this major work. According to Lieure (Jacques Callot: Catalogue de l...

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16th Century Old Masters Prints and Multiples

Materials

Etching

Novembre  - Original Etching by Marcel Roux After J.F. Millet -Late 19th Century

Novembre - Original Etching by Marcel Roux After J.F. Millet -Late 19th Century

By (after) Jean François Millet

Located in Roma, IT

Novembre is an original print in etching technique on ivory paper, realized by Marcel Roux, an engraver and sculptor, after J.F. Millet (French Painter, 18...

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Late 19th Century Old Masters Prints and Multiples

Materials

Etching

Untitled From: The Travels of Sir John Mandeville, printed by Johannes Prüss
Untitled From: The Travels of Sir John Mandeville, printed by Johannes Prüss

Untitled From: The Travels of Sir John Mandeville, printed by Johannes Prüss

Located in Fairlawn, OH

Untitled From: The Travels of Sir John Mandeville, printed by Johannes Prüss Woodcut on 15th cen. laid paper, 1488 Unsigned (as issued) Woodcuts attributed to the "Master of the Berg...

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15th Century and Earlier Old Masters Prints and Multiples

Materials

Woodcut

Bearded man in turban and fur
Bearded man in turban and fur

Bearded man in turban and fur

By Rembrandt van Rijn

Located in Middletown, NY

Etching on cream wove paper, 4 3/4 x 3 3/4 inches (120 x 95 mm), wide margins. Scattered light surface soiling, unevenly trimmed wide margins, all consistent with age. Likely printed...

Category

18th Century Old Masters Prints and Multiples

Materials

Etching

Carcere ascura
Carcere ascura

Carcere ascura

By Giovanni Battista Piranesi

Located in Fairlawn, OH

Carcere ascura Etching, 1743 Signed in the plate bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s This image foretells Piranesi's famous set, Carceri (Prisons) which is his next creative effort. Condition: Horizontal crease midway in the sheet associated with the manufacture of the paper. Visible watermark verso Small printer crease in the bottom right below the caption plate. Image size: 14 1/2 x 9 1/2 inches Reference: Robison 3 iii/VI Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

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1740s Old Masters Prints and Multiples

Materials

Etching

1910 Master Wood Engraving after Rembrandt with Cap, Signed
1910 Master Wood Engraving after Rembrandt with Cap, Signed

1910 Master Wood Engraving after Rembrandt with Cap, Signed

By Timothy Cole

Located in Soquel, CA

1910 Master Wood Engraving after Rembrandt with Cap, Signed Beautifully rendered print after Rembrandt by master engraver Timothy Cole (British/American b. 1852 d. 1931.) Rembrandt ...

Category

1910s Old Masters Prints and Multiples

Materials

Ink, Tissue Paper, Pencil, Engraving

Classic Bird Color Prints x 3 - Beautiful Set of 3 Classical Birds
Classic Bird Color Prints x 3 - Beautiful Set of 3 Classical Birds

Classic Bird Color Prints x 3 - Beautiful Set of 3 Classical Birds

Located in Cirencester, Gloucestershire

Set of 3 Colored Bird Prints each unframed, 10.5 x 14.5 inches condition: very good A beautiful set of 3 colored prints of classical birds in landscape settings. As a set, they make wonderful interior design either presented on their own or as a gallery wall grouping.

Category

20th Century Old Masters Prints and Multiples

Materials

Color

The Windmill by François Vivares, after Rembrandt
The Windmill by François Vivares, after Rembrandt

The Windmill by François Vivares, after Rembrandt

By Rembrandt van Rijn

Located in Middletown, NY

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 ...

Category

Mid-18th Century Old Masters Prints and Multiples

Materials

Handmade Paper, Laid Paper, Etching

Set of Three Engravings from Nash's "History of Worcestershire" /// Landscapes
Set of Three Engravings from Nash's "History of Worcestershire" /// Landscapes

Set of Three Engravings from Nash's "History of Worcestershire" /// Landscapes

By Treadway Russell Nash

Located in Saint Augustine, FL

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 Sheet size (each): approx. 10.13" x 16.75" Image size (each): approx. 7" x 11.88" Reference: Upcott III, page 1330 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...

Category

1780s Old Masters Prints and Multiples

Materials

Engraving, Laid Paper

Wapenhandelinghe van Roers, Musquetten ende Spiessen; Plate 4 from The Exercise
Wapenhandelinghe van Roers, Musquetten ende Spiessen; Plate 4 from The Exercise

Wapenhandelinghe van Roers, Musquetten ende Spiessen; Plate 4 from The Exercise

By Jacob de Gheyn II

Located in Middletown, NY

An image from a 17th-century military drill manual depicting techniques for handling muskets and pikes. De Ghen II, Jacques / Jacob Wapenhandelinghe van Roers, Musquetten ende Spies...

Category

Early 17th Century Old Masters Prints and Multiples

Materials

Laid Paper, Engraving

AMERICA
AMERICA

John SpeedAMERICA, 1626-76

$4,250Sale Price|50% Off

AMERICA

By John Speed

Located in Santa Monica, CA

IMPORTANT AMERICAN MAP - ONE OF THE FIRST TO SHOW CALIFORNIA as an ISLAND JOHN SPEED (1552-1629) AMERICA - With Those Known Parts In That Unknown Worlde (sic), 1626-(76) (Burden 217 iv/iv) Engraving, uncolored. Engraved by Abraham Goos and published by Thomas Basset and Richard Chiswell - 4th state of 4 in 1676.15 1/8 x 20 1/2” From “A Prospect of the Most Famous Parts of the World”. Generally good condition. A repaired split in lower centerfold. This is the most common version of this important map...

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1620s Old Masters Prints and Multiples

Materials

Engraving

BATHOS / Tail PIece
BATHOS / Tail PIece

BATHOS / Tail PIece

By William Hogarth

Located in Santa Monica, CA

WILLIAM HOGRATH (1767- 1764) THE BATHOS / Tail Piece 1764 (Paulson 1989: 216 I/I Paulson 1965/70: 216 I/I) Engraving Plate 12 7/8 x 13 3/8, sheet 17 ¾ x 18 ¾ Designed & Engrav’d by Wm Hogarth at left and Published according to Act of Parliam’t March 3, 1764 at right. Good condition on thick laid paper Small bit of tape on the left & right sheet edges small stan lower sheet edge all on recto. This Hogarth’s last print is fascinating as it is prophacy about death. Various institutions have interesting commentaries - to wit: Chicago Art Institute: Hogarth created The Bathos toward the end of his life. It is considered one of the bleakest artworks of the 18th century because it depicts the Apocalypse without an afterlife. The Angel of Death even collapses in exhaustion after having destroyed the world. In his hand is an execution decree and around him lies a mass of broken objects. Princeton: Hogarth’s last print, The Bathos,….. is filled with all manner of images denoting the end of life as we know it. Entry no. 216 in Ronald Paulson’s catalogue raisonne Hogarth’s Graphic Works, 3rd revised edition says “This print is the culmination of such pessimistic images . . . . [taking] his general composition, the configuration of objects, and some of the particular items, from Dürer’s engraving, Melancholia; but he also recalls Salvator Rosa’s Democritus in Meditation (which derives from Dürer’s print) with a scroll at the bottom of the etching: ‘Democritus the mocker of all things, confounded by the ending of All Things’ (Antal, p.168).” Newfields (Indianapolis Museum of Art): Hogarth intended this engraving to serve as the tailpiece to bound volumes of his collected engravings and, appropriately, it proved to be his last engraving. Father Time has died and his last will and testament has been witnessed by the three Fates. He is surrounded by a landscape of death, decay, and ruin. Hogarth aimed this print at dealers in “dark” Old Masters paintings who promoted the idea that ruins evoked sublime feelings in viewers—a sentiment, Hogarth wrote, that was reducing the world to ruin. British Caricature...

Category

1760s Old Masters Prints and Multiples

Materials

Woodcut

The Anglers
The Anglers

The Anglers

By Herman van Swanevelt

Located in Middletown, NY

Etching with engraving on cream laid paper with a large unidentified alphabetic watermark, 6 1/2 x 9 7/8 inches (165 x 251 mm), the full sheet. In good condition with handling wear a...

Category

Early 17th Century Old Masters Prints and Multiples

Materials

Laid Paper, Engraving, Etching

Les Offres d'Amour, Old Masters Heliogravure by Albrecht Dürer
Les Offres d'Amour, Old Masters Heliogravure by Albrecht Dürer

Les Offres d'Amour, Old Masters Heliogravure by Albrecht Dürer

By Albrecht Dürer

Located in Long Island City, NY

Albrecht Durer, After by Amand Durand, German (1471 - 1528) - Les Offres d'Amour, Year: 1873, Medium: Heliogravure, Image Size: 6 x 5.25 inches, Size: 6.5 x 5.75 in. (16.51 x 14....

Category

Late 19th Century Old Masters Prints and Multiples

Materials

Etching

Red Roses: A Framed 17th C. Hand-colored Botanical Engraving by Basilius Besler
Red Roses: A Framed 17th C. Hand-colored Botanical Engraving by Basilius Besler

Red Roses: A Framed 17th C. Hand-colored Botanical Engraving by Basilius Besler

By Basilius Besler 1

Located in Alamo, CA

"Rosa ex rubro nigricans" (Red Roses); a hand-colored copper engraving from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. This engraving is presented in a glossy silver and matte gold-colored wood frame with a green edge and an elaborate double cream-colored French mats with light mauve bands; each accented by a broad decorative marbleized green band. It is glazed with plexiglass. There is text offset and a very small crease in the left margin, but the print is otherwise in excellent condition. Provenance: W. Graham Arader Gallery...

Category

17th Century Old Masters Prints and Multiples

Materials

Engraving

Rembrandt van Rijn - Christ Between His Parents, Returning from the Temple -1820
Rembrandt van Rijn - Christ Between His Parents, Returning from the Temple -1820

Rembrandt van Rijn - Christ Between His Parents, Returning from the Temple -1820

By Rembrandt van Rijn

Located in Dallas, TX

Offered here is a compelling later impression of one of Rembrandt’s most intimate biblical subjects, Christ Between His Parents, Returning from the Temple. Executed originally in 1654, the composition captures the youthful Christ walking between Mary and Joseph following the episode in Jerusalem, rendered with remarkable psychological nuance and economy of line. This impression was printed in the early nineteenth century from Rembrandt’s original copperplate and is accompanied by a historical letter attesting to its authenticity and dating. The letter states in part: “In my opinion and to the best of my knowledge, the etching presented to me by Antonio’s Collection and entitled Rembrandt E van RIJM is an authentic Rembrandt etching made from the plates owned by the Museum of Amsterdam. It is probably an etching third state and would date approximately 1820.” The reference to plates held by the Rijksmuseum situates this impression within the long tradition of posthumous printings drawn from Rembrandt’s original matrices—objects that have been preserved, studied, and occasionally re-inked for carefully supervised editions. With its rich burr, velvety shadows, and expressive linear handling, this impression remains faithful to the master’s conception while offering collectors the opportunity to acquire an authentic Rembrandt etching from a later, historically significant printing. Like many of Rembrandt’s etched works, Christ Between His Parents, Returning from the Temple exists in several states, meaning the copperplate was altered over time as the artist reworked details, added lines, or strengthened passages of shadow. First State (1654) The earliest impressions are prized for their freshness and painterly light effects, with delicate burr and subtle modeling in the figures’ garments and faces. These are rare and typically reside in museum collections. Subsequent States Later states reflect adjustments to shading, contours, and background architecture—often deepening contrasts or clarifying forms as Rembrandt refined the narrative focus of the scene. Third State (circa 1820) By the early nineteenth century, impressions were occasionally pulled from the preserved original plates, producing prints that retain the fully developed image while often showing slightly firmer lines and less burr than seventeenth-century impressions. Such examples are historically important, documenting the continued reverence for Rembrandt’s graphic work and the custodial role of European institutions in safeguarding his plates. The accompanying letter provides valuable documentary support, linking this impression to early twentieth-century scholarship and reinforcing its status as an authentic pull from Rembrandt’s plate...

Category

19th Century Old Masters Prints and Multiples

Materials

Paper

L'Assemblee des Gens de Guerre, Heliogravure by Albrecht Dürer

L'Assemblee des Gens de Guerre, Heliogravure by Albrecht Dürer

By Albrecht Dürer

Located in Long Island City, NY

Albrecht Durer, After by Amand Durand, German (1471 - 1528) - L'Assemblee des Gens de Guerre, Year: 1873, Medium: Heliogravure, Size: 5.5 x 6 in. (13.97 x 15.24 cm), Printer: Ama...

Category

Late 19th Century Old Masters Prints and Multiples

Materials

Etching

Old Masters prints and multiples for sale on 1stDibs.

Find a wide variety of authentic Old Masters prints and multiples available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add prints and multiples created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of yellow, orange, blue and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Charles Amand Durand, Giuseppe Vasi, Thomas Holloway, and Vincenzo Campana. Frequently made by artists working with Etching, and Engraving and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Old Masters prints and multiples, so small editions measuring 1.58 inches across are also available. Prices for prints and multiples made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $11 and tops out at $350,000, while the average work sells for $333.