Antique Etching of a Grazing Cow by Van Troostwijk, 1810

Antique portrait titled 'I. Hugo v. Linschoten'. Portrait of Jan Huygen van Linschoten (1562/1563-1611). Source unknown, to be determined. Artists and Engravers: Anonymous. Condition: Good, minor foxing and age-related toning. Please study image carefully. Date: c.1810 Overall size: 22.5 x 24 cm. Image size: 6 x 10 cm. We sell original antique maps to collectors, historians, educators and interior decorators all over the world. Our collection includes a wide range of authentic antique maps...

Antique print titled 'Terre de Diémen'. This print shows natives of Van Diemen's Land. Van Diemen's Land was the original name used by most Europeans for th...

Large print with two image on one sheet. The upper image is titled 'Hudibras's first adventure'. Hudibras and Ralpho encounter a mob armed with sticks; in the foreground to right, a ...

Antique print titled 'Gezigt op het eiland Rotterdam'. This is an original copper engraving of a view of Rotterdam Island, Pacific. Originates from 'Reizen Rondom de Waereld door Jam...

Antique print titled 'Milking-Time'. Steel engraving of the interior of a barn with light coming through a casement window and open door to right, wher...

Antique print titled 'The Cow-Doctor'. Steel engraving of a cow doctor, standing outside a rural cottage and pointing to an ailing cow, observed by its anxious owners. Engraved by C....

Great image of Macao Copper-plate engraving. Published by Sherwood, Neely & Jones . C.1810 Unframed.

Delightful fashion print Lovely pastel colors Lithograph with original hand color Unframed. The measurement given is the paper size

"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...

Wonderful ethnographical print. Copper-plate engraving Published circa 1810 Unframed.  

A real etching after Rembrandt's masterpiece By Amand Durand Published circa 1900 On good quality wove type paper Unframed.

A real etching after Rembrandt's masterpiece By Amand Durand Published circa 1900 On good quality wove type paper Unframed.