Scenes from 17th Century Chile: A Glimpse of Early Indigenous Cultures, 1673

This original copper engraving depicts a lively scene of daily life in New Spain from Arnoldus Montanus' "Die Unbekannte Neue Welt oder Beschreibung des Welt-teils Amerika und des Su...

These original antique images are hand-colored and from the publication "Picturesque Representations of the Dress and Manners of the Russians," which includes sixty-four colored engr...

This original copper engraving, extracted from the scarce German edition of Arnoldus Montanus' "Die Unbekante Neue Welt oder Beschreibung des Welt-teils Amerika und des Sud-Landes", ...

This antique print, titled 'Guerrier de Timor (Amfoang),' provides a vivid portrayal of an Atoni warrior from Kupang, West Timor, Indonesia. The hand-colored woodcut captures intrica...

Antique print titled 'France XVIIth Cent - France XVIIe, Siecle - Frankreich XVIItes Jahr'. Chromolithograph of French 17th century scenes. This print originates from 'Le Costume His...

This evocative original copper engraving, featured in Arnoldus Montanus' "Die Unbekannte Neue Welt oder Beschreibung des Welt-teils Amerika und des Sud-Landes," presents a scene from...

Salvator Rosa, the Italian Baroque painter was also a significant etcher and printmaker. Rosa’s is series of small prints of soldiers was very popular and influential. This etching i...

A large, nicely-framed Italian hand-colored engraving in tones of terracotta and black. The engraving depicts various figures and scenes from the house of Titus, including angels in chariots bringing love and prosperity, boys playing childhood games, fishing, and other elements of Roman life (17th century, with more recent matte and frame). Engraving is captioned in Latin: "Pictura qua Domus Titi fornices exornabat, plures exhibens Genios in bigis, variosque puerorum ludos, et piscationem, ultra alias principales figuras." "Petrus Sancte Bartoli delin." Pietro Santo...

Humorous engraving typical of Flemish representations of the 17th century, representing two seated drinkers . We can see a woman with a glass in her left hand and a carafe in her right, while a man who probably drunk sleeps on the table. Beautiful achievement typical of the Flemish school of the 17th century. Gerard ter Borch - or Terburg - also known as "the young man" was born in 1617 in Zwolle near Amsterdam and died in 1681 in Deventer. He worked as a genre painter and portraitist and was very active especially in Münster and Amsterdam. He discovered his talent for drawing at the age of eight and became a pupil of his father Gerard ter Borch, known as "the old man". The Dutch painter Hendrick Avercamp supported Terburg. He studied with Pieter de Molyn (Dutch painter, draughtsman, engraver and publisher) for three years (1632-1635). He travelled extensively between London, Germany, France and Italy. He in turn became the master of his pupil Caspar Netscher...

In giltwood frame, dated 1652.       

"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...

The print is part of the series consisting of forty engravings, "I mestieri per la via" (The crafts on the road), engraved by Francesco Curti (Bologna ca.1603- Bologna 1670) by an in...