Paulus Pontius Prints and Multiples

Woman In Front Of The Stove III is an engraving on ivory-colored paper by Charles Amand Durand realized after Rembrandt (date of realization 1658). This wonderful piece of art belon...

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 ...

"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...

"A sua Eccellenza il Signor Henry Hope Cav. Scozzese Amatore delle Belle Arti from "Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi", (Vases, candelabra, grave stones, sarcophagi, tripods, lamps, and ancient ornaments) is an etching by Giovanni Battista Piranesi, published in 1778. It depicts stone caryatids...

AMERICAN REVOLUTION THE ABLE DOCTOR IN AMERICA SWALLOWING THE BITTER DRAUGHT, 1774 (LC Cresswell 664). Engraving and etching. Originally from "The London Magazine", April 1774. Pl...

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...

c. 1654. Etching with engraving on thin laid paper with an early and large unidentified watermark with a sundial and a many-pointed star, and an unidentified collector's stamp in the...

Etching with engraving on cream laid paper with a large unidentified alphabetic watermark, 6 1/2 x 9 7/8 inches (165 x 251 mm), the full sheet. In good condition with handling wear a...

Engraving on cream laid paper, 8 x 5 7/8 inches (202 x 149 mm), trimmed at the platemark. Adhered at each corner to a small sheet of archival laid paper. Horizontal edge loss at the ...

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...

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...