Old Masters Art

This early 19th century framed 35" x 31" engraving by artist Amand-Durand depcits an etching of 'Jesus and the Woman at the Well,' after the Dutch master, Rembrandt van Rijn. This poignant Biblical story is depicted by Arman-Durand in Rembrandt style...

Antique European oil on panel, framed framed: 9 x 7 inches board: 7 x 5inches private collection, France the painting is in overall very good and sound condition

This is a scarce 17th century beautifully hand-colored copperplate engraved map of Asia entitled “Exactissima Asiae Delineatio in Praecipuas Regiones Caerterasque Partes divisa et de...

La Lampe Polonoise Aquatint, 1771 Signed and dated in the plate lower left Condition: Yellowing to the sheet Image size: 6 1/8 x 8 1/8 inches Reference: Hedou 147 ii/II Provenance: C...

Brownish ink and grayish ink wash with white heightening on handmade cream laid paper, 10 5/8 x 8 1/4 inches (267 x 208 mm)(matrix). Scattered minor losses to top sheet edge (outside...

Albrecht Durer, After by Amand Durand, German (1471 - 1528) - Portrait de Frederic III, Electeur de Saxe, Year: 1873, Medium: Heliogravure, Size: 8 x 5.5 in. (20.32 x 13.97 cm), ...

Hamburg: Lippmann, 1895. Copperplate engraving on cream wove paper with a deckle edge, 10 1/8 x 13 1/2 inches (256 x 342 mm), full margins. In generally good condition with some lig...

By Wenceslaus Hollar, after Jan Van Bylert (Biler) Etching on cream laid paper, 3 7/16 x 2 3/4 inches (87 x 70 mm), thread margins. Lacking the inscription in the plate; "Felix Bil...

This 18th century etching is entitled "Chiesa di S. Lucia alle Botteghe Oscure" by Giuseppe Vasi was published in Rome in 1747 in Vasi's 'Magnificenze di Roma Antica e Moderna', whic...

A classical chiaroscuro woodcut after Raphael executed by Charles Nicolas Cochin Père (1688-1754) & Vincent Le Sueur (1668-1743) . Printed from two bloc...

Venetian School, early 17th century Portrait of a knight in armour The inscription at the top, ‘MAR...DIT...VICO’, is only partly legible Oil on canvas. 81 x 71 cm. - Framed: ...

Etching on light, fibrous, laid Japon paper, 5 3/16 x 6 1/4 inches (132 x 158 mm), full margins. Scattered moderate foxing throughout, very minor printing creases (innate), and one s...

Bruyn, Abraham de (after). Court wrestlers of the Sultan of Turkey-dressed for outdoors, resting and fighting. 1577. Engraving on hand made laid paper, 10 5/8 x 6 7/8 inches (268 x 1...

Country scene - Pietro Colonna Italia 2008 - Oil on board cm. 30x40 Gold gilded wooden frame available on request In this wonderful oil on panel the painter portrays some washerwomen as they are doing their work on the banks of a watercourse. In the background a rural landscape. The painting inspires...

Letter I is an Etching realized by Luigi Vanvitelli. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antichità di Ercolano Esposte”)...

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...

Jan Goeree (Middelburg 1670 – Amsterdam 1731) Interior of the Nieuwe Kerk, Amsterdam (c. 1724) Red chalk for the architecture, pen and black ink, grey wash on paper Composition reve...

Deuchar, David (after van Ostade). The Spectacle Seller. 1800. Etching on light cream laid paper, 3 3/4 x 3 inches (93 x 75 mm), trimmed at the platemark. Light skinning and some sur...

Attributed to Jan VAN DER STRAET, called Stradanus (Bruges, 1523 – Florence, 1605) Hunting Scene Pen and brown ink, brown wash and white heightening on prepared brown paper, 26 × 31...

An exalted portrait of fellow Flemish engraver and publisher Karel van Mallery. Lucas Vorsterman the Elder (after Anthony van Dyck). Carolus de Mallery, from Icones Principum Viror...

SPRING PORTRAIT - Oil on canvas cm.30x24 by Jean Philipe Moreno, Italy 2002. Frame available on request from our workshop. Moreno’s portrait depicts a young Parisian woman, her face ...

Crispin van de Passe The Younger (c. 1594-1670) Untitled (Royal Stallion), c. 1620-1660 Engraving Sight: 11 3/4 x 15 3/4 in. Framed: 18 3/4 x 22 5/8 in. Inscribed in plate: Le Bonit...

Ancient Roman statue of a horse, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Nolli in the 18th ce...

Portrait Of Jan Six is an engraving on ivory-colored paper realized by Charles Amand Durand after an etching by Rembrandt dated 1630. This wonderful piece of a...

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...

Etching and drypoint on cream laid paper, 4 x 3 3/8 inches (102 x 86 mm), 1/4 inch margins. Signed in the plate, lower left corner. The 3rd state (of 6), after the rounding of the pl...

Rising Love, 2020 Mounted on dibond perspex face in white tray frame 103 x 103 cm 40 1/2 x 40 1/2 in. Edition of 8 plus 2 artist's proofs (IVZ060) For Isabelle van Zeijl beauty is a...

Landscape is a beautiful drawing in pencil and watercolor on paper realized by Jan Peter Verdussen in 1745 ca. In good condition, excpet for some foxing on the right. The artwork r...

Rome: Nicolas van Aelst, 1613. Engraving on cream laid paper with a foolscap watermark, 8 x 11 1/4 inches (203 x 282 mm), thread margins. Scattered expert repairs including minor pu...

Rembrandt van Rijn, After by Bredius, Dutch (1606 - 1669) - The Guildmasters, Year: of Original: 1661 (printed 1906), Medium: Photogravure, Size: 10 x 14 in. (25.4 x 35.56 cm), P...

Pen and sepia ink wash on cream laid paper, 4 1/8 x 6 3/16 inches (103 x 152 mm). In good condition with scattered areas of light brown discoloration, and un...

Artist: (after) Hans Holbein (the Younger) (German-Swiss, c. 1497-1543) Title: "Catherine Howard Queen", "Jane Seymour Queen", "Anna Bollein Queen", a...

Rembrandt van Rijn, After by Bredius, Dutch (1606 - 1669) - Rembrandt's Mother, Year: Of Original 1639 (printed 1906), Medium: Photogravure, Size: 14 x 10 in. (35.56 x 25.4 cm), ...

Deuchar, David, (after van Ostade). Little Girl Playing with a Baby in its Mother's Arms; Mother with Two Children. Edinburgh: c 1800. Etching on cream laid paper, 3 3/4 x 2 3/4 inch...

Shipping Procedure Unmounted artwork Ships in a well-protected tube from Nigeria Accompanied by a Certificate of Authenticity. About Artist Tosin Oyeniyi is an intrinsically talente...

This is an original 18th century hand-colored map entitled "A New & Correct Chart of All The Known World Laid down according to Mercator's Projection" by Emanuel Bowen. It was published in 1744 in London in John Harris's "Navigantium atque Itinerantium Bibliotheca" or "A Complete Collection of Voyages and Travels". This highly detailed and colorful map depicts the world. as it was known in the mid 18th century. A majority of the northern and central portions of Canada and America are left blank due to the purity of knowledge at the time this map was published. The map is embellished with four Compass Roses in the lower left, lower center, lower right and center, along with many rhumb lines. There a is a decorative title cartouche in the upper left. This colorful, attractive, historical and interesting 1744 map presents the entire world on Mercator's projection as it was understood in the middle part of the 18th century, before the landmark explorations of Captain’s Cook, Vancouver, Wilkes and others. It is an example of a nautical chart, a type of map that was designed specifically for use by mariners. The map is centered on the equator and includes both the Eastern and Western Hemispheres. The continents of North America, South America, Europe, Africa, and Asia are depicted, as well as various islands in the Atlantic, Pacific, and Indian Oceans. The map is laid out according to the Mercator projection, a type of cylindrical map projection that was developed in the 16th century by Flemish cartographer Gerardus Mercator. This projection has the advantage of preserving angles and shapes, making it useful for navigation. The map presents a paucity of inland detail, particularly for the Americas, but major cities, geographical landmarks, and regions are included. Ocean currents and Tradewinds are identified, as well as the magnetic declination lines or magnetic variance, which refers to the difference between true north and compass north. The continents are color coded, enhancing the beauty of this map. The three compass roses indicate the directions of the cardinal points. The depiction of the western coast of America, the Pacific and Australia are interesting. There was very little exploration of Australia between the navigations of William Damper in 1699 and Tobias Furneaux in 1773. Most of the maps detail relies on the 17th century Dutch expeditions to Australia's western coast, by Abel Tasman and William Janszoon. Van Diemen's Land (Tasmania) and New Guinea appear connected to the Australian continent. New Zealand appears as a single landmass. North of New Zealand there is a landmass labelled 'Ter d' St. Esprit' which probably represents the New Hebrides Islands. This map precedes the accurate exploration of the South Pacific and east coast of Australia by Captain James Cook later in the 18th century. The map includes ‘Drakes' Port,' the site where Sir Francis Drake supposedly landed in 1579 during his 1579 circumnavigation of the globe. Here he claimed territory for England, restocked, and repaired his vessels. Drake named the region New Albion. The exact location of Drake's Port is a cartographic mystery. Drake's Harbor is believed to be in the region of San Francisco Bay, Bodega Bay, San Pablo Bay...

Attributed to Francesco PENNI (1488 – 1528) Study for a fresco Pen and brown ink, brown wash heightened with white on prepared paper 14 x 12 cm On the mount, handwriting inscriptio...

Portrait of Rembrandt's Mother is an engraving on ivory-colored paper realized by Charles Amand Durand after an etching by Rembrandt. This wonderful piece of art belongs to a late ed...

Caravaggesque northern artist active in Rome in the 17th century, active in Rome in the 17th century. Workshop of Gerard van Honthorst (Utrecht, 1592 – Utrecht, 1656) Dionysus/Bacch...

This is a Jacques Bellin copper-plate map entitled "Partie de la Coste de Guinee Dupuis la Riviere de Sierra Leona Jusquau Cap das Palmas", depicting the coast of Guinea and Sierra L...

Watermark: Wappen von Amsterdam mit Nebenmarke

Carle Vernet (French, 1758 – 1836) ‘La Marchande de Coco’; and ‘La Tour de Babbe d’un Charbonnier’ Ink, watercolour on paper Both signed C Vernet and Carle Vernet (lower left and lower right respectively) 12.1/4 x 9 in. (31 x 22.8 cm.) A pair Vernet was born in Bordeaux. At the age of five, he showed an extraordinary passion for drawing horses, but went through the regular academical course as a pupil of his father and of Nicolas-Bernard Lépicié. Strangely, after winning the grand prix (1782), he seemed to lose interest in the profession, and his father had to recall him back from Rome to France to prevent him from entering a monastery. In his Triumph of Aemilius Paulus, he broke with tradition and drew the horse with the forms he had learnt from nature in stables and riding-schools. His hunting-pieces, races, landscapes, and work as a lithographer were also very popular. Carle's sister was executed by the guillotine during the Revolution. After this, he gave up art. When he again began to produce under the French Directory (1795–1799), his style had changed radically. He started drawing in minute detail battles and campaigns to glorify Napoleon. His drawings of Napoleon...

This is an original 18th century hand-colored map entitled "An Accurate Map of the East Indies Exhibiting the Course of the European Trade both on the Continent and Islands" by Emanu...

Interesante oleo sobre tabla de San Antonio de padua realizado en el siglo xviii Es de escuela Mexicana El estado es bueno Medidas de la obra: ...

SEBASTIAN MUNSTER (1488-1552) FLORENCZ - -- FIGUR UND GELEGENHEIT DER EDLEN UND HOCH BERHÜMPTEN STATT FLORENTZ. . c 1550 (Fauser, #3925.) Woodcut f...

Work on wood Golden wooden frame 57 x 44.5 x 5 cm

Thomas Jacobsz Haringh is an engraving on ivory-colored paper realized by Charles Amand Durand after an etching by Rembrandt dated 1855 ca. This wonderful piece of art belongs to an...

Map od Dordrecht is an artwork realized by Braun and Hogemberg in the late 16th century. Hand watercolored etching. 40x54 cm. Good conditions. Braun Hoghemberg (1541-1622) was a ...

Beggar with a stick is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This piece of art belongs to a late edition of ...

The Announcing Angel Carlo Maratta (Camerano, 1625 – Rome, 1713)Workshop Oil on canvas 63 x 75 cm. - Gilded wood frame 89 x 75 cm. Excellent condition, restored, 19th century ...

Engraving on hand made laid paper, 8 1/2 x 5 7/8 inches (210 x 148 mm), thread margins. An approximately 1-inch vertical repaired tear extends into the image area at the top center ...

GENGIS KAN - Maximilian Ciccone - Italia - Oil on canvas cm.210x120. In this majestic oil on canvas painting the Artist Ciccone portray the Mongol leader and ruler Genghis Khan...

Chiaroscuro woodcut on cream laid paper, printed from three blocks in black, olive-green, and yellow ochre, 8 3/16 x 6 1/4 inches (207 x 157 mm), thread margins. Some scattered light discoloration throughout, lightly backed with laid paper, however the sheet retains translucence when viewed through raking light. Trimmed at or near the margin. Archivally sound small repaired corner tear, upper right, with a very minor (1/4 inch) vertical edge split in the center top margin, above the figure's head. All condition issues are consistent with age, and present an exceptionally good example of this truly remarkable work. With the collector's stamp of Friedrich August II, King of Saxony, last King of Poland (1797-1854), Dresden, on the right corner, recto (Lugt 971). This work likely appeared in a well-known posthumous sale of Friedrich August II's private collection, which was handled by C.G. Boerner, and took place in Leipzig, on May 7-9, 1928, presumably this print was presented as lot 1551. [Stechow 16] Ludolph Busïnck was born at Hann, Germany around 1590. By about 1620 he was actively working as a printmaker in Paris, collaborating with publisher and celebrated cartographer Melchoir Tavernier. Busïnck may have studied printmaking in the Netherlands, evidenced by the influence of Dutch printmaker Hendrick Goltzius we see in the bold woodcuts he produced in France. Busïnck was the first printmaker to create chiaroscuro woodcuts in France, a technique originated by German artist Hans Burgkmair...

Artist proof, printed on contemporary filigree paper, large margins, representing an antique marble vase , whose details are described in the ending note . The piece is dedicated to ...

Provenance: Dr. George Hamilton, Massachusetts; and by descent. Private Collection, Ohio, until 2021. Exhibited: (Possibly) Clark Art Institute, Massachusetts (according to a handwritten inscription on the reverse). This drawing by an anonymous, 16th-century German hand presents a delightful scene of nymphs—mostly nude but some draped with cloth—making music in an outdoor setting. The composition is executed within a roundel and centers on the harpsichord played by the figure seen from behind. She is accompanied by a host of other instruments, including horns, a harp, and a lira da gamba played by figures gathered nearby, several of which are positioned along the curved edges of the visual field. Two satyrs observe the merrymaking—one leans on the harpsichord while the other holds aloft a cup, presumably of wine, adding a bacchic element to the revelry. The drawing was previously owned by Dr. George Hamilton, scholar of modern art and Director of the Sterling and Francine Clark Art Institute in Williamstown (1966–1977). Hamilton played...

Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Ferdinando Campana in the 18th century. Signed on the plate, on the l...

Engraving by Joannes and Lucas van Doetecum (Deventer active by 1551 - circa 1569 Haarlem) in the manner of Peter Bruegel the Elder

This is a 17th century portrait engraving of Jean-Baptiste Racine by Gerard Edelinck (1640-1707), published in Charles Perrault's 'Les Hommes Illustres' in Paris in 1696. Jean Racine (1639-1699) was a French dramatist, one of the three great playwrights of 17th-century France, along with Molière and Corneille. Racine's works were primarily tragedies. He wrote Phèdre, Andromaque, and Athalie. He did write one comedy, Les Plaideurs, and a muted tragedy, Esther for young readers. His writing is renowned for its elegance, purity, speed, and fury. The American poet Robert Lowell described his style as a "diamond-edge" and the "glory of its hard, electric rage". Racine's works often displayed his psychological insight, the passion of his characters, and the stark reality of his plots and stage descriptions. In 1672, he was elected to the Académie Française, and two years later he achieved the title of "treasurer of France", and later the honorary title of an "ordinary gentleman of the king" to King Louis XIV, and subsequently a secretary of the king . This beautiful engraved portrait is printed on chain-linked, laid paper with wide margins. The sheet measures 17.13" high by 10.75" wide. There is a small spot in the lower margin and a few tiny faint spots in the margins, but the print is otherwise in very good condition. The original descriptive text pages, 81 & 82, are included. Provenance: This engraving was owned by Arthur Pomeroy, 1st Baron Harberton and the Viscount Harberton (1723-1798). He was an Irish politician, who represented County Kildare in the Irish House...