Old Masters Art

Letter T 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...

Avanzi delle Rovine della casa del console Ventidio Basso, non molto lungi da Quintigliolo nella Valle verso Tramontana in Tivoli. Image dimensions: 36x46 cm. From the collection “L...

Decoration With Animals is an Etching realized by Luigi Aloja (1783-1837). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antichit...

Ancient View of Benares is an original modern artwork realizedin the first half of the 19th Century. Original Black and White Lithograph on Ivory Paper. Inscripted on the lower ma...

Ruine di Sepolcro antico Etching, 1743 Signed in the plate bottomleft in the caaption plate 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 Coniditon: Excellent/Very good Image size: 14 5/8 x 9 3/4 inches Reference: Robison 17 iii/V 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...

SEBASTIAN MUNSTER (1488-1652) ASIAE TABVLA Vlll 1540 (45) Woodcut from Munster's edition of Geographia Universalis, Basel, Henri Petri. 1545 edit...

This is an original 16th century copperplate originally hand-colored engraved map of View of Seravalle, Italy entitled "Seravallum Celeberrimum Marchiae Tarvisiniae in Agro Foro Juliensi Opp. - Seravalli, quam vides, Spectator, iconem, operi huic nostro suis sumptib. . . ." by Georg Braun & Franz Hogenberg, from their famous city atlas "Civitates Orbis Terrarum", published in Augsberg, Germany in 1575. The map depicts a view of Seravalle, now Vittorio Veneto, in San Marino, Italy, north of Venice, in a topographically accurate bird's-eye view from the south. A water-filled moat is seen to the south of the city walls and farmland to the east. Two men are depicted standing on a hill in the lower right in conversation next to grain sacks and a grazing horse, while a younger man behind them to the right herds a mule carrying presumably pigs. A very colorful and ornate title cartouche is in the upper center and coat-of-arms are in the right and left upper corners. Serravalle lies in an idyllic setting in the foothills and surrounded by orchards. St Mary's Cathedral with its tall bell tower is prominent in the center of the town. The marketplace and town hall with a bell tower in the square are depicted. Houses and shops are around the main square. Serravalle's importance as an agricultural centre is emphasized by the figures in the foreground. In 1337 Serravalle was conquered by the Republic of Venice. In 1866 the town was united with neighbouring Ceneda to form the town of Vittorio Veneto. The following is an English translation of an excerpt from the French description of the city on the back of the map: "Serravalle, a market town renowned for cloth, wine and grain, is in such a beautiful situation that the number of its inhabitants, attracted by the loveliness of the place, has grown so much at times that the wall encircling it has had to be enlarged for the third time. The city with the surrounding town once belonged to the Church in Ceneda as an imperial fief. It subsequently became the seat of the Da Camino family (a princely house that at that time was one of the five most noble in all Italy). Now the city is under the sway of the Venetians but is prudently governed by them. For they send only one city councillor with instructions to ensure that justice prevails and to collect duties. In all else, power lies in the hands of the noble families." This is a translation of the Latin in the title cartouche on the front: "The picture of the town of Serravalle, which you see, viewer, has been contributed to our work entirely at his own expense by Minutius, son of Hieronymus Minutius, a noble gentleman and one renowned for the far-reaching competence of his jurisdiction. We saw him sojourning in Cologne, where he was on business for Gregory XIII; while our good wishes accompany him, we should also like to accompany him on his way with this remembrance, even though it might be against his will, so that even those who have not seen him may learn of his excellence. However, those who do not yet know him will also see his excellence if God the Almighthy does not summon erring souls too soon back to the eternal seat of the Blessed." References: Van der Krogt 4, 4728, State 1; Taschen, Braun and Hogenberg, p.331; Fauser, #14960 This striking hand-colored city view is printed on laid, chain-linked paper with wide margins. The sheet measures 16" high by 21" wide. There is a central vertical fold as issued and French text on the verso, with Latin on the front. There is some discoloration in the upper and right margins which may represent some watercolor paint from the time of the original hand-coloring of the map. There is a small hole to the right of the upper portion of the vertical fold, which is only visible when held up to light and an area of reinforcement on the verso of the lower vertical fold. The map is otherwise in very good to excellent condition. Braun and Hogenberg's 'The Civitates Orbis Terrarum' was the second atlas of maps ever published and the first atlas of cities and towns of the world. It is one of the most important books published in the 16th century. Most of the maps in the atlas were engraved by Franz Hogenberg and the text, with its descriptions of the history and additional factual information of the cities, was written by a team of writers and edited by Georg Braun. The work contained 546 bird-eye views and map views of cities and towns from all over the world. It gave graphic representation of the main features of the illustrated cities and towns, including the buildings and streets. Although the ordinary buildings are stylized, the principal buildings are reproduced from actual drawings created on location. The principal landmarks and streets can still be recognized today. In addition, the maps often include the heraldic arms of the city, the nature of the surrounding countryside, the important rivers, streams and harbors, even depicting stone bridges, wooden pontoons, flat-bottomed ferries, ships and working boats, wharves and jetties, as well as land-based activities, including horsemen, pedestrians, wagons, coaches, and palanquins. Small vignettes are often included which illustrate the trade, occupations and habits of the local inhabitants, such as agriculture, paper-making and textiles, as well as local forms of punishment, such as gibbets, wheels, floggings etc. Large figures dressed in their local costume are often presented out of proportion in the foreground. The aim of the authors was to give as much information as possible in a pleasing visual form. They succeeded in creating maps that were both informative and decorative works of art. The atlas is a wonderful glimpse of life in medieval Europe. Georg Braun (1541-1622) was German Catholic...

Letter of the Alphabet Q, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century. Good conditions. The etching belon...

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...

A wonderful Oval oil on canvas portrait of a little girl. Very much in the style of Jean-Baptiste Greuze.

"Vaso Cinerario di Gran Mole. Le Teste dei Giovenchi mostrano di reggere it pesante Festone composto di Frutti Fiori Grans ed use. Il tuto Necefsario all Vita Umana. Il Restante degl...

Marine - Enrico Capuano Italia 2009 - Oil on board cm. 20x33

Chiesa di S.Carlo ed Ambrogio al Corso is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except f...

Marco Dente, After by Amand Durand, Italian (1493 - 1527) - Venus l'Amour et Pallas, Year: circa 1878, Medium: Heliogravure, Size: 9 x 5.5 in. (22.86 x ...

La Pompe Notre Dame. (The Pumphouse, Notre Dame). Schneiderman catalog 26.x. 1861. Etching. Image 6 3/4 x 10. Edition of 30 in this state. Series: Eaux-Fortes sur Paris . Initial...

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...

Heliogravure on cream laid paper, 6 1/2 x 5 1/2 inches (164 x 138 mm), thread margins. Uniform toning on the recto, and scattered light foxing and various notations in purple ink and...

Ancient Roman Scene from the series "Antiquities of Herculaneum", is an etching on paper realized by Various Authors in the 18th Century. Monogrammed on t...

This framed original 18th century etching is entitled "Fregio antico di marmo con Ippogrifi, nel cortile del palazzo della Valle" (Ancient Marble Frieze with Hippogriffs in the Courtyard of The Palace of the Valley). The etching is by Giovanni Battista Piranesi, published in Rome in 1778. It is from Piranesi's monumental work "Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi", (Vases, candelabra, grave stones...

Black crayon and graphite with white heightening on blue handmade laid paper. Adhered at all four corners to a period support, on which the title and an illegible date (perhaps 1815) appear to be written in the artist's hand. ________ Aglio was born in Cremona is 1777 and his artistic talent was recognized early in his life. He was promised a place at the University in Milan by the Holy Roman Emperor, however, his formal education was upended before it even began by the invasion of Italy and Austria by Napoleon. Aglio joined the war effort and fought in a series of major battles near Venice before becoming seriously ill. At the age of about 23 he was released from duty, and traveled to Rome to focus on his health, and landscape painting. In Rome, Aglio studied with the renowned artist Campovecchio. At the invitation of well known British architect William Wilkins (designer of the National Gallery and University College London), Aglio relocated to London in 1803. He made London his permanent home, and married Letitia Clarke in 1805. He enjoyed a lucrative career painting frescoes in the interiors of high society townhouses, country manors, and major London concert halls and theaters. Most notably, Aglio painted multiple official portraits of Queen Victoria...

Rembrandt's Mother is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This wonderful piece of art belongs to a late ed...

Portrait of Lady Sarah Cowper, nee Holled [1644-1720]-Circle of Michael Dahl 17th century,Oil painting on canvas oval,bust-length . She has dark hair tie...

Watercolour on ivory colored paper, 1820 c.a. Hand-signed on lower-right. Hand-titled "Costume di Ciociara", with autograph caption black ink "Provincia di Basilicata nel Regno di Na...

Artist: August Töpfer Work: Original Watercolor painting, handmade artwork, one of a kind Medium: Watercolor on Satin Paper Year: 1834-1911 Style: Classic Art Title: Tower, Size: 12...

Black and white etching and burin on wire rod paper. Second and final state, after the numbering. Signed, numbered and dated on the lower left margin of plate. 19° plate from the ser...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Elia Morghen in the 18th Century. Signed on the plate. Good ...

Landscape With A Milkman is an engraving on ivory-colored paper realized by Charles Amand Durand after an etching by Rembrandt dated 1650. This wonderful piece of art belongs to an e...

Cottages and a Hay Barn on the Diemerdijk is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This piece of art belongs...

Ancient Roman Frescoes, from the series "Antiquities of Herculaneum", is an original etching on paper realized from a design by Nicolò Vanni in the 18th century. Signed on the plate...

JOSÉ MARÍA GALVÁN Y CANDELA (1837-1899) "San Victoriano y compañeros mártires". Firmado a mano en la parte inferior derecha. Y en la parte trasera inscripción a mano con información ...

No quiren is an original artwork realized by the great Spanish artist Francisco Goya in 1810. Original Etching on paper. The artwork belongs to the famous series "Los Desastres de la Guerra" realized during the years of the Independence Spanish War, published in 1863 and representing the horrors and the despair of the War. Signature appears upside down in the lower right corner. Titled on the lower central margin "No Quiren" (Not Even Them). Numbered on the lower left corner. Etching N. 9. Very good conditions. A Napoleonic soldier...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Morghen in the 18th Century. Signed on the plate. Good condi...

Landscape with an Obelisk is an engraving on ivory-colored paper realized after an etching by Rembrandt dated 1650 ca. This wonderful piece of art belongs to an edition of the late 1...

Title at the center of the lower margin. "Lit. Foudraz" in the lower right margin. In very good conditions except some light foxing and two little holes in the higher margin, and nor...

(after Anthonie Van Dyck) Engraving on cream laid paper, 9 1/4 x 6 3/8 inches (234 x 161 mm), full margins. Water stain throughout bottom, diagonal creases in the area of the bottom right corner, paper tape along top edge on recto. A very well inked impression. __________Flemish painter and engraver Paulus Pontius was born in Antwerp in 1603, and it was in this city that his full life would unfold. At the young age of 13, he was apprenticed to the still life painter Osias Beert, and subsequently to Lucas Vosterman, who was heavily associated with the workshop of Peter Paul Rubens. Vosterman trained Pontius in the skill of engraving, which he took to immediately, finding he had great skill at recreating paintings. Pontius was able to capture the minutiae of light and shadow found on the canvas, and mastered the ability to accurately render the subtleties of brushwork in this alternate media. His success as an engraver cemented his role in the workshop of Rubens, and in 1624, when Vosterman found himself at odds with Rubens, and left Antwerp for England, Pontius assumed his role as foremost engraver in the workshop. It was in this year that Pontius took up lodgings in Rubens's home, and continued to live there until 1631, when courtship and marriage (the first of three) brought him away. After the death of Rubens in 1640, Pontius embarked on a very successful career engraving reproductions of master works by artists including Rubens, Anthony van Dyck, Jacob Jordaens, Pieter van Avont, Abraham van Diepenbeeck...

The Tribute Money is an engraving on ivory-colored paper realized after Rembrandt by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This wonderful piece of art belo...

This etching, representing Four soldiers, one with flag, is an 18th century copy after Salvator Rosa and it is from the series of capricci with soldiers, called Figurine. The first ...

This pair of etchings, executed on a single sheet, was realized by Stefano Della Bella in 17th century.   Both etchings are signed with initials “SDB fec.”   The state of preservatio...

Beggar in a High Cap, Standing and Leaning on a Stick is an engraving on ivory-colored paper realized bu Charles Amand Durand after an etching by Rembrandt dated 1630. This wonderful...

Sin firmar, es de autor anónimo Se presenta enmarcada la obra con un marco del siglo xviii (el marco presenta algunas leves faltas) Medidas obra: 104 cm. de altura x 80 cm. de anch...

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

Portrait 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 19th ce...

Portrait is an original artwork realized by Thomas Holloway (1748 - 1827). Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Lov...

Genesis 31 -Old Testament Story is an Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout included 29 x 39 cm The artwork i...

Still Life with Dead Birds 18th Century Italian School oil painting on canvas, framed framed: 16 x 20 inches canvas: 13 x 17 inches provenance: privat...

Venice is an original artwork realized in 1950s. Original woodcut on ivory paper; reissue of a hand-printed woodcut, 1950s. Good conditions. Image Dimensions: 18 x 19 cm.

François Boitard (1670-1715) Abraham and the Three Angels, Signed lower left "F Boitard (...) fecit (...)" 28 x 44 cm Pen and ink on yellow prepared paper...

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 ...

Architectural Roman Map from "Antiquities of Herculaneum" is an etching on paper realized by Vincenzo Scarpati in the 18th Century. Signed on the plate. Go...

Etching on on laid paper, adhered along left sheet edge to archival wove paper. A rich inking impression in very good condition. From the Picart Edition of 1710. - Ex-collection Fer...

French School 18th Century, L'étonnement, Astonishment as a form of expression, Titled on the lower right "L'étonnement N°9" Black chalk on paper 43 x 29 cm In good condition, a sta...

Duck Head Oil Lamp from "Antiquities of Herculaneum" is an etching on paper realized by Carlo Oraty in the 18th Century. Signed on the plate. Good conditions. The etching belongs ...

Rare Botanical Hand Colored Engraving about 1737-1745 Beautifully framed French hand painted mat, in gold leaf frame each print measure 9.5x14.5 with the frame 23.5hx18.5x1 Johann ...

Monumento al popolo is an original drawing realized by Giovanni Fontana in the 16th century. Ivory colored paper attached on an ivory colored sheet. Includes frame: 48.5 x 1 x 44 c Beautiful drawing in graphite, representing the funeral monument...

Portrait of M...after Raphael is an original artwork realized by Thomas Holloway (1748 - 1827). Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the ...

Genesis 14 -Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco. About The Old Testament Story, 1607 ca. Passpartout...

After Simon Johannes van Douw (Antwerp c. 1630 - c. 1677) The stop of a traveler on horseback near a post station Oil painting on canvas 45 x 55 cm In frame cm. 55 x 65 In this pleasant painting, depicting a knight parked near a post station, the Flemish tradition is based on a strong Italianizing sensitivity, especially by observing the setting and its peculiar brightness. The mixture of genres and the particular style of execution make it easy to trace the authorship back to a Nordic author but active in Rome, or strongly influenced by the style in vogue in the Eternal city, between the seventeenth and eighteenth centuries: we are referring, in in particular, to a follower of the Antwerp Simon Johannes van Douw. The chromatic elegance and refinement with which he outlines the figures are typical aspects of his painting. The scene takes place outside a cottage, probably a post office for travelers, where a modest family divides the tasks by assisting the knights. We see a young boy who hands water to the horse before he sets off again, the father is preparing to feed him with straw and the mother who instead takes care of the little son. The Italian reminiscences, evident in our painting, have been absorbed by many Northern European authors such as Nicolaes Berchem, Philips Wouwerman or Johannes Lingelbach, all inspired by the leader Pieter van Laer...

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...

Andrea del Sarto, After by Alphonse Leroy, Italian (1486 - 1530) - Profile of Man, Medium: Lithograph, Image Size: 10.25 x 7.5 inches, Size: 19.5 x 14 in. (49.53 x 35.56 cm), Fram...

Animal Figures from Ancient Rome, from the Series "The Antiquities of Herculaneum Exposed", is anoriginal etching from the end of the 18th century, made by Various Old MastersIn very...