Old Masters Prints and Multiples

Antiquities of Herculaneum  - Letter of the Alphabet B,  from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Mignani in the 18th centur...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Pendragon Castle" (Plate 312) and "Lincoln Castle" (Plate 170) Portfolio: Buck's Antiquities or Vener...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Oakham Castle" (Plate 242) and "Nottingham Park/Castle" (Plate 226) Portfolio: Buck's Antiquities or Venerable Remains of Above 400 Castles, Monasteries, Palaces in England and Wales Year: 1726-1739 Medium: Set of Two Original Engravings on watermarked laid paper Limited edition: Unknown Printer: Unknown Publisher: Robert Sayer, London, UK Reference: Lowndes page 303-304; Upcott page 33 Sheet size (each): approx. 11" x 18.25" Image size (platemark) (each): approx. 7.75" x 14.75" Condition: "Nottingham Park" has light soiling in margins and scattered light foxmarks across sheet. They are both otherwise strong impressions in very good condition Notes: Comes from Samuel and Nathaniel Buck's three volume portfolio "Buck's Antiquities" or "Venerable Remains of Above 400 Castles, Monasteries, Palaces in England and Wales" (1726-1739), which consists of 428 engravings. Both "Oakham Castle" and "Nottingham Park/Castle" have unidentified watermarks in the center of their sheets. They both also have "Liverpool Free Public Library" chop mark/blind stamps at bottom center of their sheets. Old price pencil inscribed in margins. Oakham Castle is a historic building in Oakham, Rutland. The castle is known for its collection of massive horseshoes and is also recognised as one of the best examples of domestic Norman architecture in England. It is a Grade I listed building. Owned and managed by the Rutland County Council, Oakham Castle is licensed for civil...

Wenzel Hollar (1606-1677), Air, 1647, after Petrus van Avont, from the Four Elements. [signed and dated W. Hollar 1647 lower right and inscribed P. van Avont inu lower left in the plate] Reference: Pennington 522, third state (of 3). In good condition (a thin spot upper left verso), on laid paper, trimmed outside of the borderline all around, 5 1/2 x 8 1/8 inches. Provenance: the London firm of Craddock and Barnard, still in their mat, with the Barnard annotations. A fine strong impression of this whimsical representation of the element Air. Hollar (1607-1677) had learned etching as a gentlemanly pursuit before, as a Protestant, having to leave Catholic Prague when he was 20. For nine years he worked in various German towns, mostly producing topographical prints...

ADRIAEN VAN OSTADE, Haarlem 1610 - 1684 Le Gourmet en compagnie, 1664 c.a Original etching and drypoint, signed in plate at lower left. Bibliography: Godefroy 50 VII/XII. (mm. 219x2...

Antiquities of Herculaneum  - Letter of the Alphabet C,  from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Mignani in the 18th centur...

Antiquities of Herculaneum  - Letter of the Alphabet L,  from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Mignani in the 18th centur...

Antiquities of Herculaneum  - Letter of the Alphabet A,  from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Mignani in the 18th centur...

Antiquities of Herculaneum  - Letter of the Alphabet N,  from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Mignani in the 18th centur...

Antiquities of Herculaneum  - Letter of the Alphabet C,  from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Mignani in the 18th centur...

Antiquities of Herculaneum  - Letter of the Alphabet P,  from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Mignani in the 18th centur...

Antiquities of Herculaneum  - Letter of the Alphabet B,  from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Mignani in the 18th century. Good ...

Antiquities of Herculaneum  - Letter of the Alphabet C,  from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Mignani in the 18th century. Good ...

Antiquities of Herculaneum  - Letter of the Alphabet C,  from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Mignani in the 18th century. Good ...

Antiquities of Herculaneum  - Letter of the Alphabet N,  from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Mignani in the 18th century. Good ...

Antiquities of Herculaneum  - Letter of the Alphabet L,  from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Mignani in the 18th century. Good ...

Antiquities of Herculaneum  - Letter of the Alphabet P,  from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Mignani in the 18th century. Good ...

Antiquities of Herculaneum  - Letter of the Alphabet S,  from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Mignani in the 18th century. Good ...

Antiquities of Herculaneum  - Letter of the Alphabet Q,  from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Mignani in the 18th century. Good ...

Antiquities of Herculaneum  - Letter of the Alphabet U,  from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Mignani in the 18th century. Good ...

Antiquities of Herculaneum  - Letter of the Alphabet P,  from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Mignani in the 18th centur...

Antiquities of Herculaneum  - Letter of the Alphabet S,  from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Mignani in the 18th centur...

Antiquities of Herculaneum  - Letter of the Alphabet U,  from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Mignani in the 18th centur...

Franz Weirotter (1730-1771), Suite of 12 Views of Italy, etchings, 1759 [most signed in the plate by Weirotter]. Reference: Nagel 5. 10 printed in pairs on one sheet; one on a small...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Louth Park Abbey" (Plate 172) and "Easby Abbey" (Plate 324) Portfolio: Buck's Antiquities or Venerabl...

"Portrait of a Man" is an engraving after Hans Holbein by Wenceslaus von Prochna Hollar. It depicts a man in traditional dress for the mid-17th century: A flat hat, large shirt, and ...

Hendrick Goltzius (1558-1617), engraving, 1593 [with extensive inscription in the plate]. Reference: Bartsch 161, Hollstein 177, second state (of two...

Ancient Roman Busts from the Series "Antiquities of Herculaneum Exposed", original etching from the end of the 18th century, made by Various Old Masters. In very good condition, exc...

"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...

Adriaen Van Ostade (1610-1685) etching The Anglers, circa 1647, Godefry 26, Bartsch 26. Very good condition, with small (1/2 inch) margins, on cream laid paper, archival mounting. 4 ...

"Harbour Scene" is an engraving by Claude Gellee (Le Lorrain). The artist signed the piece in plate lower left. 7 3/4" x 9 5/8" art 18 1/8" x 20 1/4" frame Biography Claude Lorra...

Wenzel Hollar (1607-1677), Adam Elsheimer, etching after a painting of Elsheimer by Jan Meyssens, 1649, with text and signatures as described below. Ref...

"Anatomie d'Un Reve" is an original color lithograph by Claude Weisbuch. The artist signed the piece in the lower right and wrote the edition number, IX/CXXX, in the lower left. This piece depicts an artist in dark robes painting while shadows and faint sketches of figures walk around in the background. 17" x 23 1/4" art Claude Weisbuch was born on February 8th, 1927 in Thionville, France. His art includes drawing, painting and lithographs. Inventive and unique with his style he uses color range that is warm and rich in tone, certainly equal to that of Rembrandt. The fluidity of line and creation of motion is even more vigorous that in the work of Daumier or Toulouse Lautrec. His creativeness in composition is awesome and seems to have infinite possibilities of variation and vision. Weisbuch died in 2014. Exhibitions Herve Odermatt Gallery Paris, France Escole de Paris Paris, France David Barnett...

Letter V is an etching realized by Luigi Vanvitelli artist of the 18th century. Good condtions. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (origina...

Exo.17 - Old Testament Story is an Etching print realized by Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout included 31 x 35 cm The artwork is in good cond...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "Knaresborough Castle" (Plate 330) and "Sawley Abbey" (Plate ...

Colored silkscreen print on paper with mahogany wood frame

'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...

"Le Temps, Apollon, et les Saisons (Time, Apollo, and the Seasons)" is an etching by Claude Gellée (Le Lorrain). This etching is the Fifth state (A). This state is also in collections in Paris (BN, L, PP) and Washington; Mannocci cat. no. 43. The inscription reads: "Apollo in atto di obedire al tempo. La Primavera a cominciare il ballo. Lestate no manca del suo calore. L'aurunno colsuo licore / Seguita. Linvernno tiene la sua staggione, Claudio Gillee inven.Fec.Roma 1662 con licenza de super." A powerful example of Claude's staging of landscape in the classical manner is the etching "Time, Apollo, and the Seasons," done in 1662 after Poussin's painting of 1624-1636, "Dance to the Music of Time...

"L'Apparition (The Vision)" is an original etching by Claude Lorrain (Claude Gellee). This print depicts a religious vision near the edge of a river. The publisher is Mannocci #5 and...

Roman Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Filippo De Grado in the 18th Century. Signed on the plate. Good conditions. The etching belongs t...

"Figures at the Obelisk" is an original etching by Jan Frans van Bloemen. It depicts two people conversing in front of a monument. Behind them, an expansive landscape sprawls. 9 1/4" x 6 3/4" art 21 3/4" x 19 3/8" frame Jan Frans van Bloemen (baptized 12 May 1662 - buried 13 June 1749) was a Flemish landscape painter mainly active in Rome. Here he was able to establish himself as the leading painter of views (vedute) of the Roman countryside depicted in the aesthetic of the classical landscape tradition. Van Bloemen predominantly painted classical landscapes, taking his inspiration from the Roman Campagna. His landscapes, with their recession through a series of planes, soft, warm lightning and classical and religious subject matter, drew on the examples of artists such as Claude Lorrain and Gaspard Dughet. His paintings are exquisitely imbued with that "difficult-to-define pastoral ambience" which helped to make him such a great painter in the eyes of his contemporaries. The technique and subjects of the work of Jan Frans van Bloemen are also related to painters such as Jan Asselijn, Thomas Wyck...

Francis Grose entered the army early in life and served in the cavalry, infantry, and militia. He produced some compelling and sought after engravings on subjects including ancient a...

"Four Women in National Costumes" is a set of four original etchings by Wenceslaus Von Prachna Hollar. 3 5/8" x 2 3/8" each print 19 1/8" x 18 1/2" frame Wenceslaus Von Prachna Ho...

The present is one of the many prints John Thomas Smith produced of English cottages and vernacular architecture. This example, a view of a cottage in Edmonton, is closely related to...

Artist: William Cavendish (English, 1593-1676) Title: "Welbeck Park Belongs to the Marquis of Newcastle" (Plate 38, Page 263) Portfolio: Methode et Invention Nouvelle de Dresser Les Chevaux (New Method and Invention of Dressing Horses) Year: 1737 (Second edition) Medium: Original Hand-Colored Engraving and Etching on watermarked laid paper Limited edition: Unknown Printer: Jean Brindley, London, UK Publisher: Jean Brindley, London, UK Reference: Brunet I, 1699; Graesse II:93; Lowndes VI:1663; Mellon/Podeschi 26, page 34-35; Mennessier de la Lance II, page 246-247; Nissen ZBI 848; Huth page 21 Sheet size: 17" x 21.25" Image size: 15" x 20" Condition: Toning to sheet and some edgewear in right margins. Centerfold is separated at very top and bottom in margins. It is otherwise a strong impression in good condition with strong colors Notes: With overlapping centerfold as issued. Engraved by Dutch artist Theodor van Kessel (1620-1696) after a drawing by Dutch artist Abraham van Diepenbeeck...

"Scene de Brigands" is an etching by Claude Gellee (Le Lorrain). This etching is in the collections of the Louvre and the Art Institute of Chicago. Publisher: Mannocci #11. 5" x 7...

In this print, Wenceslaus Hollar presents a portrait of D. Henrico van der Borcht, copying a painting or drawing by Hans Holbein. Copying works of famous masters was a common task of...

"La Fuite en Egypte (The Flight into Egypt)" is an original etching by Claude Lorrain (Claude Gelee). This piece depicts the biblical story of Mary, Joseph, and the infant Jesus goin...

"Le Patre et la Bergere (The Herdsman & Shepherdess)" is an etching by Claude Gellee (Le Lorrain). This etching is in the collections of the Metropolitan Museum and the British Museu...

Shere Mill Pond, No. II (large plate). 1860. Etching and drypoint. Schneiderman 37.v/ix. 7 x 13 1/8 (sheet 10 3/4 x 16 3/8). This state is prior to publication in Études à l'Eau-Forte. Illustrated: Keppel The Golden Age of Engraving; Print Collector's Quarterly 1 (1911): 18; : Guichard, British Etchers, 1850-1940. A rich, brilliant proof with drypoint burr printed on white laid paper. Signed in pencil. ------------------------------------------------------------------------------------------- Shere Mill Pond, No. II was one of the most highly praised landscape prints of the etching revival. An impression was exhibited at the Royal Academy in 1861 under Haden’s pseudonym, H. Dean. Francis Seymour Haden used this anagram of his own name early in his career as an artist, in order to retain his anonymity and preserve his professional reputation as a surgeon. Biography: Sir Francis Seymour Haden (16 September 1818 - 1 June 1910), was an English surgeon, best known as an etcher. He was born in London, his father, Charles Thomas Haden, being a well-known doctor and lover of music. He was educated at Derby School, Christ's Hospital, and University College, London, and also studied at the Sorbonne, Paris, where he took his degree in 1840. He was admitted as a member of the College of Surgeons in London in 1842. In 1843-1844, with his friends Duval, Le Cannes and Colonel Guibout, he travelled in Italy and made his first sketches from nature. Haden attended no art school and had no art teachers, but between 1845 and 1848 he studied portfolios of prints belonging to a second-hand dealer named Love, who had a shop in Bunhill Row, the old Quaker quarter of London. Arranging the prints in chronological order, he studied the works of the great original engravers, Albrecht Dürer, Lucas van Leyden and Rembrandt. These studies, besides influencing his original work, led to his important monograph on the etched work of Rembrandt. By lecture and book, and with the aid of the memorable exhibition at the Burlington Fine Arts Club in 1877, he tried to give a true reflection of Rembrandt's work, giving a nobler idea of the master's mind by taking away from the list of his works many dull and unseemly plates that had long been included in the lists. His reasons were founded upon the results of a study of the master's works in chronological order, and are clearly expressed in his monograph, The Etched Work of Rembrandt critically reconsidered, privately printed in 1877, and in The Etched Work of Rembrandt True and False (1895). Haden's printmaking was invigorated by his much younger brother-in-law, James Whistler, at the Haden home in Sloane Street in 1855. A press was installed there and for a while Haden and Whistler collaborated on a series of etchings of the Thames. The relationship and project did not last. Haden followed the art of original etching with such vigour that he became not only the foremost British exponent of that art but brought about its revival in England. His strenuous efforts and perseverance, aided by the secretarial ability of Sir WR Drake, resulted in the foundation of the Royal Society of Painter-Etchers and Engravers. As president he ruled the society with a strong hand from its first beginnings in 1880. Notwithstanding his study of the old masters of his art, Haden's own plates were very individual, and are particularly noticeable for a fine original treatment of landscape subjects, free and open in line, clear and well divided in mass, and full of a noble and dignified style of his own. Even when working from a picture his personality dominates the plate, as for example in the large plate he etched after J.M.W. Turner's "Calais Pier," which is a classical example of what interpretative work can do in black and white. Of his original plates, more than 250 in number, one of the most notable was the large "Breaking up of the Agamemnon." An early plate, rare and most beautiful, is "Thames Fisherman". "Mytton Hall" is broad in treatment, and a fine rendering of a shady avenue of yew trees leading to an old manor-house in sunlight. "Sub Tegmine" was etched in Greenwich Park in 1859; and "Early Morning--Richmond", full of the poetry and freshness of the hour, was done, according to Haden, actually at sunrise. One of the rarest and most beautiful of his plates is "A By-Road in Tipperary"; "Combe Bottom" is another; and "Shere Mill Pond" (both the small study and the larger plate), "Sunset in Ireland," "Penton Hook," "Grim Spain" and "Evening Fishing, Longparish," are also notable examples of his genius. A catalogue of his works was begun by Sir William Drake and completed by Harrington in 1880. During later years Haden began to practise the sister art...

"Le Point de Bois (Rebecca & Eliezer)" is an etching by Claude Gellee (Le Lorrain). This etching is in the collections of the Metropolitan Museum and the Louvre. Publisher: Mannocci ...

Horse Drivers is an etching realized by Eugène Burnand (1850-1921) in the Late 19th century. Signed on the plate. Good conditions with foxing. The artwork is realized through sho...

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

Letter S is an etching realized by Luigi Vanvitelli artist of the 18th century. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Anti...

The Tree is a lithograph print on ivory-colored paper realized in the mid-20th century by an anonymous artist. Good conditions. The artwork is created through strong and quick stro...

Letter V is an etching realized by Luigi Vanvitelli artist of 18th century. Good condtions. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original ti...

Wildlife is an etching realized by Jean Le Pautre in 18th Century. Good conditions. Signed on plate. The artwork is depicted through confident strokes.