Franz Weirotter Prints and Multiples

Letter of the Alphabet S, from the series "Antiquities of Herculaneum", is an etching on paper realized by Various Authors in the 18th century. Good conditions. The etching belong...

"Ypres, Grand Ville Riche & Marchande" is an engraving and etching by Daniel Marot (le Vieux) (1661–1752). It depicts a view of the siege of the city of Ypres and its citadel on the left in the Spanish Netherlands by Louis XIV's troops. This battle took place between March 18 and March 25, 1678, as part of the Franco-Dutch War. Marot illustrated in great detail (best appreciated with magnification) the French attack on the strong pentagonal citadel on the extreme left, which had been built recently in anticipation of a French attack. The trenches built by the French approaching the town are seen on the right. King Louis XIV can be seen in the foreground surveying the battle mounted on his white horse, surrounded by his officers and troops. The print is presented in an attractive ornate black wood frame with a cream-colored double mat with a black inner trim. It is glazed with plexiglas. The frame measures 25.38" x 22.63" x .88". The engraving, frame, mat and glazing are in excellent condition. Artist: Daniel Marot (1661–1752) was also called "Le Vieux". He was the son of the famous architect, Jean Marot. Marot had diverse interests and talents. In addition to his art, he designed garden projects, architectural ornaments, furniture, and even upholstery. Marot as a Huguenot protestant was forced to leave France in 1685 following the revocation of the Edict of Nantes. He emigrated to Holland, where he worked for William of Orange (an arch enemy of his former employer Louis XIV). Marot was largely responsible for the interiors of Williams palace at the Loo. In 1694 he went Britain as William had married Queen Mary and he had become King William III of England. He later returned to Holland in about 1698 and died in the Hague in 1752. He left a lasting legacy on the decorative arts in the Netherlands, where his grand version of the Louis XIV style remained popular into the 1730s. Historical Background: In October 1677, Mary Stuart, niece and possible successor of Charles II of England, married Louis XIV's arch enemy William III of Orange...

A magnificent forest scene with lush, vast foliage along a brook by a master of the Dutch Golden Age. Amsterdam: c1650. Etching on cream laid paper, 5 1/8 x 5 3/4 inches (130 x 147 ...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta della Basilica di S. Lorenzo fuor della mura" (Basilica of San Lorenzo Outside the Walls), published in Rome in 1750 in Piranesi's Vedute di Roma (Views of Rome), This etching depicts the Basilica of San Lorenzo Outside the Walls, which is a Roman Catholic papal basilica and parish church, located in Rome, Italy. The Basilica is one of the Seven Pilgrim Churches of Rome and one of the five "papal basilicas". It was built as a shrine to the martyred Roman deacon St. Lawrence. This Piranesi etching is held by many museums and institutions, including: The Metropolitan Museum, The British Museum, The National Gallery of Art, The Yale University Art Gallery, and The Harvard Museum of Art. This magnificent etching is presented in a brown-colored wood frame and a tan French...

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...

"Veduta del Sepolcro della Famiglia Plauzia per la Strada Che Conduce da Roma a Tivoli vicino a Ponte Lugano" from "Le Antichità Romane" (Roman Antiquities), one of the most famous works by Piranesi. "Antichita" illustrates the tombs along the Appian Way...

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...

"Figure by the Cottage in Forest" is an original etching by John Thomas Smith. The miniature landscape shows a pair of cottages in the woods, nestled back into the trees. A river flo...

"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: Manno...

"La Danse Sous Les Arbes (The Country Dance)" is an etching by Claude Gellee (Le Lorrain). This etching is in the collections of the Metropolitan Museum and the Louvre. Publisher: Ma...

This is a framed Giovanni Battista Piranesi (1720-1778) etching entitled "Orthographia utriusque lateris arcuum ductus Aquae Virginis a specu principe ad Hadriani thermas, effossorum...

This a framed Giovanni Battista Piranesi (1720-1778) etching entitled "Reliquiae Theartri Pompejani" (Remains of the Theatre of Pompey) from "Il Campo Marzio dell'Antica Roma" (The Campus Martius of Ancient Rome), published in Rome in 1762. It depicts the remains of an ancient theater in Rome with exposed seating and an arch still standing in the foreground. An inset shows an architectural side view of a portion of the structure. The etching is presented in an antiqued silver-colored wood frame with a cream-colored French mat. The frame measures 24" x 20.75" x 1.25". The print is in excellent condition. The Theatre of Pompey (Latin: Theatrum Pompeii, Italian: Teatro di Pompeo) was a structure in Ancient Rome built during the latter part of the Roman Republican era by Pompey the Great...