17th Century Jan Van De Velde Print "October" from the Months, 1618

A French landscape by Gabriel Perelle. With a modern walnut frame Gabriel Perelle (Vernon, 1604 - Paris, 1677) was a French engraver, draftsman and printer of topographic views and landscapes. A pupil of Simon Vouet, Perelle specialized in landscapes with a classical setting, not unlike those of Francisque Millet, although with clearly decorative pretensions. He founded an etching lab, with the collaboration of his sons Nicolas and Adam. Perelle was also a pupil of Daniel Rabel and produced hundreds of engravings from his drawings, as well as compositions by fellow antagonists such as Israël Silvestre, Paul Bril, Jacques Callot, Michel Corneille the Elder, Jan Asselijn...

Beautiful etching by Abraham Genoels II (Antwerp 1640-1723) from a painting by Adam Frans van der Meulen (Brussels 1844-Paris 1690). Excellent state of conservation with wide margin...

"Arch dedicated to Hercules" and "Arch dedicated to Bellerophon" Splendid and very rare etchings belonging to a suite of subjects executed for the preparations of the "Celebrations for the entry into Antwerp of the Cardinal-Infante Ferdinando of Habsburg-Spain on 17 April 1635". The sketches for the decorations were all drawn by Sir Peter Paul Rubens and the execution of the etchings was entrusted to Van Thulden. Bottom left: P.P. Rubens. Bottom right: G. Gervatius (who was commissioned to bring together the illustrations of the arches in a special volume) and Van Thulden. Laid paper with watermark - copper imprint - margins - excellent condition. At the end of 1634 Peter Paul Rubens (1577-1640) was invited to make a series of drawings to decorate the city of Antwerp on the occasion of the solemn entry of the infant cardinal Ferdinand of Habsburg (1609-1641) who, after his death of Archduchess Isabella Clara Eugenia (1633), Spanish governor of the southern Netherlands, had been elected as his successor. Generally in these circumstances, the itinerary was articulated through a series of stations and the city - in its main urban hubs - was adorned with decorations and ephemeral apparatuses which, without solution of continuity, covered the facades of the palaces, churches and convents facing the parade axis of the celebratory itinerary, testifying to the participatory role of the various public and private institutions that took part in the feast1. As had happened for the entrances of Charles V in 1520, of Philip II in 1549 and of the archdukes Albert and Isabella in 1599, also in this case, on 17 April 1635, the most important streets and squares of Antwerp were enriched with arrangements: temporary altars, four scenarios, a portico and large triumphal arches built in wood, over twenty meters height, decorated with paintings, sculptures and allegorical scenes. The references to the ancient alluded in this case to the greatness of the Habsburgs and to the merits of Ferdinand for the victory obtained over the Protestant armies of Sweden and their German allies. The choice to use the triumphal arch has its roots in the "city of the popes" and must be read as a connection with the triumphal and modern arches, with Rome and with the "possession" ceremony, placing the emphasis on its centuries-old use . In the elaboration of the drawings and sketches Rubens proved to be a true connoisseur of architecture, but what is most surprising about the artist is the casual use of architectural language and fidelity to sixteenth-century Roman models. In order for the memory of these works to be perpetuated over time, some artists were commissioned to etch the ephemeral apparatuses and, under the guidance of the painter Theodor van Thulden...

A beautiful pair of burin engravings depicting "Saint Bernardo degli Uberti" and "Saint Hilary of Poitiers" two of the patron saints of the city included in the base of the cupola ( dome ) of Parma cathedral frescoed by Antonio Allegri known as Correggio (Correggio, August 1489-Correggio 5 March 1534) between 1524 and 1530. Admirable work by the great master in which his genius as a forerunner of the Baroque is fully seen. In 1642 Giovanni Battista Vanni etched a series of fifteen plates from Correggio's frescoes. Giovanni Battista Vanni was born in Pisa around 1599; he studied successively under Jacopo da Empoli, Aurelio Lomi, and Matteo Rosselli, and then became a disciple of Cristofano Allori. He is better known as an engraver than as a painter. From 1624 to 1632, he lived in Rome, then returning to Florence after visiting Venice. In addition to the series of prints...

Framed & Matted Pen & Ink Drawing, attributed to “Allaert Van Everdinger” (Dutch 1621-1675)

Dutch Golf Engraving By Jacques-Philippe Lebas, Vuë De Santvliet Village De Hollande. Rare 18th century Dutch golf engraving by Jacques-Philippe Lebas depicting Dutchman playing the early form of golf on the ice. The Kolf engraving is entitled 'Vuë De Santvliet Village De Hollande' (View Of Santvliet Village From Holland). The scene shows a group of four Dutch gentlemen in the foreground playing kolf, the forerunner of golf. There are people skating on the ice and a gentleman can be seen kneeling whilst fitting on his ice skates. Paintings of life on the frozen waterways of Holland were very popular and many artists, usually known for painting rivers or landscapes, produced them. Extra print details:- in the bottom left 'Van Drever pinx', on the right 'Jac. Ph. LeBas sculp'. In the center a coat of arms with the words "Virtus Ariete Fortior". Dédié à Monsieur Norregs Bertie, Par son très humble et très obeisant Serviteur Jac. Ph. Le Bas. Beau pays, ou fleurit une utile industrie, On croiroit que chez toi L'eau se transforme en glace, Et dont les habitants peuvent toute leur vie Pour offrir un plus ample et plus commode espace Suivre a vec liberte leurs innocents desires, A tous les Voyageurs, à tes divers plaisirs, Par M. Moraine. A Paris chez Le bas Graveur du Cabinet du Roy rue de la Harpe...

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Antique print titled 't Huis 's Heerendyk en de Stad Ysselstein in 't Verschiet, 1744'. Copper engraving of the city of IJsselstein, the Netherlands. Artists and Engravers: Engraved...