Baroque Prints

A wonderful trio of etchings of gentlewomen by Wenceslau Hollar, who was born in Prague in 1607 and died in London in 1677. The largest, A Woman of Holland, is inscribed on the upper...

Wonderful image after Rembrandt Fine Steel engraving. Published by Fisher, London, Dated 1842 Unframed.

Wonderful image after Rembrandt Fine Steel engraving. Published by Blackie & Sons London. C.1850 Unframed.

Wonderful image after Domenichino Fine Steel engraving. Published C.1850 Unframed.

Limited edition three color letterpress print signed, titled and numbered by Betty Guy. The debossed print is titled "San Francisco Opera Opening Night 1979", it is numbered 8/50. Th...

The hand-colored botanical print, Corona Imperialis Polyanthos or Crown Imperial Lily, was originally by Basil Besler (1561-1629) a Nuremberg, Germany pharmacist, and published in t...

Set of 3 antique 1698 bird's-eye view etchings of Baroque Swedish estates and gardens by Johannes van den Aveelen, 1698. Includes Noor, Roserberg and Malma. From a large series of e...

Set of 3 Architectural ornament engravings from the folio by James Gibbs. Published by Bowyer, London, 1728. Unframed, age toning, edge wear, small edge loss.

Set of 3 antique circa 1702 architectural etchings by Johannes van den Aveelen. Includes the Tessin Palace in Stockholm, Swedish Bank and Schellnora estate. From a large series of ...

Set of Four Antique Basilius Besler Botanical Prints With Custom Parchment Mats, sold as a set of four only. Basilius Besler (1561-1629) This c...

French Engraving Hand Colored Galerie des Modes Costumes Francais, 1779 Rare antique French fashion print hand colored published first i...

French Engraving Hand Colored Galerie des Modes Costumes Francais, 1779. Rare antique French fashion print hand colored published first ...

Armeria is a genus of flowering plants. These plants are sometimes known as "lady's cushion", "thrift", or "sea pink" (the latter because as they are often found on coastlines). Thi...

Wonderful image of a Doge of Venice, Leonardo Loredan Photogravure Published C.1900 Unframed

Wonderful image of Job Photogravure Published C.1900 Unframed

Wonderful print Chromolithograph Published by Connoisseur circa 1900 Unframed.

Pair of Francois Boucher Mezzotint Engravings from the first half of the 20th century. The colored engravings have a classical design with a Poetry theme. Matted and framed in gol...

Carlo Lasinio (1759-1838) Four hand-colored engravings from Lasinio's Ritratti Originali de Pittori Esistenti Nella Reale Galleria de Firenze, published from 1791-96. The entire pu...

Carlo Antonini (Italian, 1740-1821). Twelve antique engravings of architectural rosettes from throughout historic Italian buildings. Each depicts the profile and face view of the ros...

Folio Leaf: 37 x 23 cms. Hand colored copper engraving. Matthäus Merian der Ältere (or "Matthew", "the Elder", or "Sr."; 22 September 1593 - 19 June 1650) was a Swiss-born engr...

Wonderful image after Michelangelo Fine Steel engraving. Published by Jones & Co. C.1850 Unframed.

Wonderful image after Rembrandt Fine Steel engraving. Published by Jones & Co., London. C.1850 Unframed.

Diego Rodríguez de Silva y Velázquez (baptized June 6, 1599 – August 6, 1660) was a Spanish painter, the leading artist in the court of King Philip IV ...

Wonderful image after Carracci Fine Steel engraving. Published by Jones & Co. C.1850 Unframed.

Wonderful image after Ruthart Fine Steel engraving. Published by Payne C.1850 Unframed.

A fine mythological etching by the great Italian engraver Antonio Tempesta (Florence, 1555 – Rome, 5 August 1630) printed by François L'Anglois or Langlois (12 May 1589 (baptised) – 13 January 1647),also called F. L. D. Ciartres (" Francois Langlois from Chartres"). Beautiful sheet , very sharp . The dimensions below are inclusive of the frame, the print without the frame measures 27x19 cm Antonio Tempesta, also called il Tempestino (1555 – 5 August 1630), was an Italian painter and engraver, whose art acted as a point of connection between Baroque Rome and the culture of Antwerp. Much of his work depicts major battles and historical figures. He was born and trained in Florence and painted in a variety of styles, influenced to some degree by "Counter-Maniera" or Counter-Mannerism. He enrolled in the Florentine Accademia delle Arti del Disegno in 1576. He was a pupil of Santi di Tito, then of the Flemish painter Joannes Stradanus. He was part of the large team of artists working under Giorgio Vasari on the interior decoration of the Palazzo Vecchio in Florence. His favourite subjects were battles, cavalcades, and processions. He relocated to Rome, where he associated with artists from the Habsburg Netherlands, which may have led to his facility with landscape painting. Among his followers was Marzio di Colantonio. Tempesta and the Flemish painter Matthijs Bril were commissioned by Pope Gregory XIII to paint wide panoramas of the Procession to Transfer the Relics of St. Gregory of Nazianzus (1572) for the loggias on the third floor of the Vatican Palace. He completed frescoes in the Palazzina Gambara at the Villa Lante in Bagnaia (1578-1609). From 1579–83, Tempesta participated in the decoration of the Villa Farnese in Caprarola, notably of this villa's Scala Regia. He is also known to have collaborated on frescoes in the Villa d'Este at Tivoli and the Palazzina Gamara at Villa Lante, Bagnaia. He painted a series of turbulent and crowded battle scenes for the Medici. He also completed a series of engravings on outdoor courtly hunting scenes. Tempesta painted frescoes for the Palazzos Colonna, the Doria Pamphilj, and for the Marchese Giustiniani in his Roman palace, where Tempesta collaborated with Paul Bril, and at Bassano di Sutri. He painted a Massacre of the Innocents for the church of Santo Stefano Rotondo in Rome. Tempesta is now best known as a printmaker in etching and engraving. He also left numerous etchings, among them: Plates from the Old Testament; twenty-four plates from the Life of St. Anthony; a set of 150 prints from Ovid’s Metamorphoses; 13 plates on The Labours of Hercules and four plates on respectively The ages of man; The entry of Alexander into Babylon; Diana and Actaon, and The crucifixion (1612). In 1612 he engraved a series of plates under the title "Batavorum cum Romanis Bellum" after designs of the Netherlandish artist Otto van Veen, also known as Vaenius (1556-1629) and court painter to Alessandro Farnese. Van Veen was influenced by the Italian mannerists but had developed his own style anticipating the Flemish baroque of his pupil Peter Paul Rubens. The series consists of 36 numbered engraved plates and illustrates the armed struggle between the ancient Dutch tribes and their Roman oppressors as narrated in Tacitus' Histories. Each plate bears at the bottom an engraved legend in Flemish and in Latin while a detailed explanation is printed on the otherwise blank verso. Plate I, signed 'Ant.Tempesta f. Anno 1611', shows 'Roma' and 'Batavia' in battle dress with respective scenic backgrounds, symbolizing the two nations. Fifteen other plates bear Tempesta's monogram. The plates depict heroic events, sieges, and battle scenes. This historicist work was very popular in its time. Tempesta also drew many designs for tapestries. François L’Anglois or Langlois (12 May 1589 (baptised) – 13 January 1647), also called F. L. D. Ciartres ("François Langlois from Chartres"), was a French print publisher, print seller, engraver, bookseller, art dealer, and painter. He is widely considered to have been the first important print publisher in France and to have contributed significantly to spreading awareness of contemporary artists' work throughout Europe. François L’Anglois was born in Chartres and baptised there on 12 May 1589. He visited Italy on several occasions: Rome in 1613 and 1614 and Genoa, Florence, and Rome again in 1621. On these trips he met Anthony van Dyck and Claude Vignon, who both painted his portrait. He also became acquainted with the engravers Stefano della Bella and François Collignon. It was probably around this time that he acquired the nickname of Chartres (Ciartres in Italian). In 1624–1625 he was associated with Vignon as an art dealer (paintings) and acted as a print collector for Thomas Howard, 14th Earl of Arundel, and Charles I of England...

Wonderful image after Garofalo Fine Steel engraving. Published by Jones C.1840 Unframed.

Sandrart Joachim, von (1606-1688) Effigies antiquae Romae. redacta a Pyrrho Ligorio Romano, per XIIII Regiones, in quas Urbem divisit Imp. Caesar August. Nuremberg, Germany, pu...

AN UNUSUALLY LARGE 16TH CENTURY ITALIAN ETCHING OF THE VISION OF ST. PETER AFTER JACOPO TINTORETTO Anonymous, after Jacopo Tintoretto Italy; 16th century Printed on laid paper with ...

Sandrart Joachim, von (1606-1688) Effigies antiquae Romae. redacta a Pyrrho Ligorio Romano, per XIIII Regiones, in quas Urbem divisit Imp. Caesar August. Nuremberg, Germany, pu...

Represents the element of water depicting Neptune and Thetis on a chariot drawn by sea horses. Etching with engraving made by Sébastien Leclerc in 1679, after tapestries by Charle...

Aconitum lycoctonum Aconitum lycoctonum (wolf's-bane or northern wolf's-bane) is a species of flowering plant in the genus Aconitum, of the family Ranunculaceae, native to much of Europe and northern Asia. It is found in lowlands to the subalpine zone, mainly in forests and shaded habitats. Along with A. napellus, A. lycoctonum is of the most common European species of the Aconitum genus. They are also grown ornamentally in gardens, thriving well in ordinary garden soil. As such, A. lycoctonum can be found in North America, especially in eastern Canada, often in old gardens or as garden escapees. Engraved and drawn by Nicholas Robert...

Ranunculus luteus aconiti folio magno flore After Nicholas Robert (1610-1684), engraved by Abraham Bosse (c. 1604 – 14 February 1676). On fine water...

37.5 x 22.5 cm SUPERB ORIGINAL COPPER ENGRAVING!! Matthäus Merian der Ältere (or "Matthew", "the Elder", or "Sr."; 22 September 1593 - 19 June 1650) was a Swiss-born engraver who worked in Frankfurt for most of his career, where he also ran a publishing house. Born in Basel, Merian learned the art of copperplate engraving in Zürich. He next worked and studied in Strasbourg, Nancy, and Paris, before returning to Basel in 1615. The following year he moved to Frankfurt, Germany where he worked for the publisher Johann Theodor de Bry, who was the son of renowned engraver and traveler Theodor de Bry. Early in his life, he had created detailed town plans...

Wonderful image after Raphael Fine Steel engraving. Published C.1850 Unframed.

Beautiful etching representing the classic religious subject of the "Adoration of the Magi" by the Baroque painter and engraver Pietro Testa known as il Lucchesino. The print derives from an oil on canvas of the same name now in Montpelier. Identified by the TPL monogram on the right and the dedication signature. Paolo Bellini in the book "L'opera incisa di Pietro Testa" (The engraving work of Pietro Testa) ,published in 1976 by Neri Pozza in Vicenza, identifies this work as an example of the third state of three since, respect to the second state, the address of Gio Giacomo Rossi is added . In the lower margin there is the dedication in Latin to: Most illustrious and most reverend (cardinal) Gerolamo Bonvisi, Cleric of the Apostolic Chamber, D.D. The star on the left often blushes with the light of evil / Kings live here so that they recognize the Lord, / happy face good star shines benignly./ Petrus Testa Pietro Testa (1611–1650) was an Italian High Baroque artist active in Rome. He is best known as a printmaker and draftsman. He was born in Lucca, and thus is sometimes called il Lucchesino. He moved to Rome early in life. One source states he was ejected from the Cortona studio in 1631, soon after joining the workshop. Others state Testa trained under Pietro Paolini or under Domenichino, for whom he worked under the patronage of Cassiano dal Pozzo. He was friends with Nicolas Poussin and Francesco Mola. Some of his etchings, which often include work in drypoint, have a fantastic quality reminiscent of Jacques Callot, or embellishments of his Genoese contemporary Giovanni Benedetto Castiglione and even presciently suggest William Blake. His Sacrifice of Iphigenia appears to have influenced Tiepolo's rendition at Villa Valmarana Ai Nani in Vicenza. His early prints, from the 1630s, were often religious and were influenced by Federico Barocci...

Pair of beautifully framed 20th century crackled paper prints depicting entrances to the Schloss Belvedere Palace in Vienna. One print is of the Main Palace Gate, featuring ornate wr...

" Ceres and Phytalus" To left, Phytalus, kneeling, receives the fig tree from the goddess Ceres, standing to right, as a reward for his hospitality. Etching and drypoint, circa 1662...

Wonderful image after Rembrandt Fine Steel engraving. Published by Jones & Co., London. C.1850 Unframed.

"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 image after Rembrandt Fine Steel engraving. Published by Jones & Co., London. C.1850 Unframed.

Wonderful print of Sir Thomas Fairfax Copper-plate engraving by Engleheart after Bowers Published by Edward Jeffrey. Dated 1808 Unframed. .

Wonderful image after Rembrandt. Fine steel engraving. Published by Fisher, London. circa 1840 Unframed.

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...

BLOME, Richard (d. 1705). A set of 5 framed plates from the first part of The gentlemans recreation in two parts : the first being an encyclopedy of the arts and sciences ... the s...

This is an engraving by Johann Georg Wille after the work of Godfried Schalcken. This is a genre scene. Representing a family is sitting around...

Laurus Cassia. Yew tree. Taxes Baccata, Der gebeerte Eibenbaum. Handcolored engraving by Joseph Jacob Plenck, from “Icones Plantarum Medicinalium”, published in Vienn, between 1788 and 1803. Joseph Jakob Ritter Plenk or Plenck (1738–1807) was an Austrian physician and polymath. He is now known as a pioneer dermatologist. This exceptionally rare, folio engraving...

Hand framed and encased Florentine Fine Art depicting 3 Dogs, Angel and a Nude Woman. Backing supports a secure way of hanging it. Art Size measures: 5 x 12 inches.

Laurus Cassia Die Cassie Cinnamomum cassia, called Chinese cassia or Chinese cinnamon, is an evergreen tree originating in southern China, and widely cultivated there and elsewher...

Wonderful image after Rembrandt Fine steel engraving. With a highly decorative border. Published C.1850 Unframed.

Wonderful image after Raphael Fine Steel engraving. Published C.1850 Unframed.

Wonderful image after Rubens Fine Steel engraving. Published C.1850 Unframed.

Superb naval battle scene depicted during the First Anglo Dutch war. Abbildung der Bludigen See Treffens zwischen den Holländern und Engelländern, so drey...

Early 17th century, French hand colored equestrian engraving. After Antoine de Pluvinel (French, 1552-1620), "Henry IV, Mounted", figure 42 from "L'Instruction du Roy en l'Exercice de Monter a Cheval", c. 1625, matted and framed under UF-3 plexiglass (blocks approx. 97% of UV) , gallery label verso. Figures from this publication have sold at Christie's. Those were not hand colored. A highly detailed engraving with the French King Henry 1V the central figure. Mounted on horseback, Le Roy (the King) is watched by no less than 10 courtiers some of whom are mounted on horseback, all of which are named in the engraving. Antoine de Pluvinel (1552, Crest, Dauphine - 24 August 1620) was the first of the French riding masters, and has had great influence on modern dressage. He wrote L’Instruction du Roy en L'exercice de Monter à Cheval ("instruction of the King in the art of riding"), was tutor to King Louis XIII, and is credited with the invention of using two pillars, as well as using shoulder-in to increase suppleness. In 1594, Pluvinel founded the "Academie d'Equitation" near what is now Place des Pyramides. There, the French nobility was trained not only in horsemanship, but also in all the accomplishments (dancing, fashionable dressing, etc.) It can be said that Pluvinel's influence on the aristocracy lasted from the late 16th century to the 17th century. Richelieu, the future Prime Minister of King Louis XIII attended the Academie; so did William, Duke of Cavendish. Pluvinel's book was published posthumously by the Flemish engraver Crispijn van de Passe II and the royal valet de chambre...

By Johannes Van den Aveelen and engraved by Holmice. Six views of Swedish royal residences. Hand colored engravings. Framed and matted.

"Vertooninge van de ontsachlyke Spaansche Krygs vloot, in den Jaare 1588." Issued in: Bor, Pieter: "Nederlandsche Oorlogen", Amsterdam (ca 1680) Measures: Leaf: ca. 28,5 x 36 cm View: ca. 26 x 34 cm Fine hand color. On fine watermarked laid paper. Copper engraving of the downfall of the Spanish Armada of the ‘Onoverwinnelijke Vloot’, between 31 July and 12 August 1588. Naval battle between the Spanish and combined English and Dutch fleets in the canal. In the foreground, there is a large Spanish frigate being shot at by a small Dutch ship with the banner of the city of Leiden; on the left, there is a galley.  In particular, the engraving details shows the battle of Gravelines as the English sought to disrupt the Spanish fleet as it lay in wait for the army to board her ships. The fireships can be seen in the middle-right of the picture. It gives a feel for the compactness of the fleet and the disruption that the English hoped to cause in breaking it up. Johannes or Jan Luyken...

Fine folio engraving in hand color. This rare antique engraving was published in the series: 'Historiae Naturalis De Avibus Libri VI' by John Johnston, published and engraved by Matthias Merian in 1657. Matthaus Merian...

Fine folio including early and finely executed portraits of Renaissance artists by Joachim von Sandrart. Included are portraits of: Antonio da Correggio; Rosso Fiorentino; Gianfrancesco Penni; Polidoro da Caravaggio...