Antique Frontispiece of 'De Graaven van Holland' by Langendijk, 1745

Antique print titled 'Ian de I'. Original print of Jan I of Holland. This print originates from 'De Graaven van Holland' by Pieter Langendijk. Published by J. Bosch, 1745. Artists...

Antique print titled 'Dirk de I'. Original print of Dirk I of Holland. This print originates from 'De Graaven van Holland' by Pieter Langendijk. Published by J. Bosch, 1745. Artis...

Antique print titled 'Jacoba van Beijeren'. Original print of Jacoba van Beieren. This print originates from 'De Graaven van Holland' by Pieter Langendijk. Published by J. Bosch, 174...

Antique print titled 'Margareet'. Original print of Margaretha van Beieren. This print originates from 'De Graaven van Holland' by Pieter Langendijk. Published by J. Bosch, 1745. ...

Antique print titled 'Ian de II'. Original print of Jan II of Holland. This print originates from 'De Graaven van Holland' by Pieter Langendijk. Published by J. Bosch, 1745. Artis...

Antique print titled 'Dirk de IV'. Original print of Dirk IV of Holland. This print originates from 'De Graaven van Holland' by Pieter Langendijk. Published by J. Bosch, 1745. Art...

Wonderful image after Van Dyck Fine Steel engraving. Published by Virtue C.1850 Unframed.

Wonderful image of John the Baptist after Van Eyck Chromolithograph Printed on card Published C.1870 Unframed.

Antique German / “Pennsylvania Dutch” Birth and Baptismal Certificate lithograph with color block printing in red and yellow, printed in 1830 and signed in 1831. Measures: 14” x 1...

Francis Grose entered the army early in life and served in the cavalry, infantry, and militia.He had a profound knowledge of antiquities and spent the greater part of his life collec...

"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...

Antique engraving of a Tucano Mangiapepe, by Saverio Manetti Circa 1776 A fine hand colored engraving of a Tuscan Magpie by the Italian artist Saverio Manetti. Manetti drew his work predominantly from real specimens. The work was one of the largest ornithology undertakings to that point in time. Dimensions: 25 inches high x 22 inches wide x 1 1/4 inches deep. (frame); (63.5cm high x 55.88cm). 18 x 14 in. (sheet) Reference: Wikipedia Manetti was born in Brozzi to Giovanni Bernardo and Maria Teresa Nesiscolt of Prague. His early studies were in Florence and later at Pisa where he studied botany under Pier Antonio Micheli. He graduated in medicine in 1745 and worked in Florence. In 1758 he joined the National Medical College where he studied anatomy under Antonio Cocchi (1695–1758), conducting the autopsy of Cocchi. Manetti was Professor of Botany of the "Società Botanica Fiorentina", a member of the German Academy of Sciences Leopoldina, a Fellow of the Royal Society, learned societies in Göttingen and Montpellier, an Accademico dell'Istituto di Bologna and he maintained scientific contacts with the Swedish botanist Carl Linnaeus and with the main scientific circles of the second half of the 18th century. He was supervisor of the Orto Botanico di Firenze in Florence from 1749 to 1782 succeeding to Giovanni Targioni Tozzetti and Secretary of the Accademia dei Georgofili. With remarkable organizational effort, he secured the publication of Storia naturale degli uccelli, Natural History of the birds, a monumental work in five volumes illustrated with 600 hand-coloured engravings based on watercolor paintings. The book was commissioned by Maria Luisa, Grand duchess of Tuscany and the first volume was dedicated to Grand Duke Pietro Leopoldo. The third volume was dedicated to Ferdinando di Brobone and the fourth to Giorgio Nassau Clavering. The engravings were made by Tuscan abbot and engraver Lorenzo Lorenzi and Violante Vanni who had studied under British engraver Robert Strange...