Jean Morin Figurative Prints

Crispin van de Passe The Younger (c. 1594-1670) Untitled (French Noblemen on Horseback), c. 1620-1660 Engraving Sight: 11 3/4 x 15 3/4 in. Framed: 18 3/4 x 22 5/8 in. Inscribed in p...

St. Simon from "Les Grands Apôtres Debout, Représentant Le Sauveur, La Bienheureuse Marie et Les Saints Apôtres" Original 17th Century Etching by Jacques Callot. This portrait of St. Simon depicts him standing in a street, holding a book and leaning on a saw. The saw is typical of St. Simon's depictions as he was said to have been martyred by being sawed in half. Very good impression of this print, with bold lines and high contrast. This leaflet contains the words "Callot fec." in the bottom right, shorthand for the Latin fecit, meaning Callot made this. This edition contains no publishers mark or numbering on the piece, indicating that it is from the first printing state. Jacques Callot was born in the Duchy of Lorraine around 1592 to an important family in the court. He started an apprenticeship as a goldsmith at the age of 15, but later began learning etching. He is known for his technical skill in etching and for developing the echoppe style etching needle. Callot's etchings featured religious figures as well as soldiers, common people, beggars, and court individuals. His series "The Miseries and Misfortunes of War," published while Lorraine was invaded during the Thirty Years War, later influenced Goya's "Los Desastres de la Guerra...

Self-Portrait 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 edition...

Self-portrait with a Broad Nose 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...

Head Of An Old Man 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 Artist's Mother, Head and Bust 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 l...

Self-Portrait, Frowning 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...

Beggar Leaning on a Stick, Facing Left 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...

Self-Portrait, stuurs kijkend 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 e...

The Artist's Mother with Her Hand on Her Chest is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This piece of art be...

Self-Portrait with a Scarf Around His Neck is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This wonderful piece of ...

Artist: Aegidius Sadeler II Petronia, First Wife of Vitellius, from set of Roman Emperors and Empresses, c. 16th-17th century Engraving Publisher: Marcus Christoph Sadeler Sight: 15 1/4 x 10 3/4 in. Framed: 19 3/4 x 15 1/4 x 1 in. This image was conceived in the 16th century by Aegidius Sadeler II and published by Marcus Christoph Sadeler. It is unclear when the present version was executed. Aegidius Sadeler or Aegidius Sadeler II[1] (1570–1629) was a Flemish engraver who was principally active at the Prague court of Rudolf II, Holy Roman Emperor and his successors. Sadeler was born in Antwerp in the Sadeler family of print dealers and engravers. He was the son of Emmanuel de Sayeleer and the nephew of Aegidius I, Jan I en Raphael Sadeler.[2] He was trained by his uncle Jan I and became a member of the Antwerp Guild of St. Luke in 1589. He was active in Munich the next year in 1590, in Rome in 1593, in Naples and then again in Munich in 1594–1597. From 1597 he settled in Prague where he became court engraver for Rudolf II and made engraved portraits of notables and engravings after artworks there, most notably paintings by Bartholomeus Spranger, Roelant Savery, Hans von Aachen, Giuseppe Arcimboldo, and sculptures by Giambologna and Adriaen de Vries. His early engravings were mostly faithful copies of works by Albrecht Dürer in the Imperial collection and copies of paintings by notable Italian painters such as Raphael, Tintoretto, Parmigianino, Barocci and Titian or by Northern painters who worked there, such as Paul Bril and Denys Calvaert. In Prague he also engraved portraits of the notables of Rudolf's court, and collaborated with Spranger, Joseph Heintz the Elder, Jacobus Typotius and his friend Anselmus Boece de Boodt (1550-1632), Rudolf II's gemologist and physician.[3] After Rudolf II died he enjoyed the favour and protection of the two succeeding Emperors, Matthias and Ferdinand II.[4][5] According to Michael Bryan...