USA - Art

Painted in collaboration with Hendrick van Balen (Antwerp, 1575 – 1632). Provenance: Private Collection, Uruguay, since the 1930s. The eldest son of Jan Br...

Up for sale is a fabulous antique 17-century (the 1600s) oil painting on canvas depicting Goddess And Cherub In The Sky - a classic baroque painting. This stunning impressive piece o...

This is an original 18th century hand-colored copper-plate engraving by Giovanni Volpato after a drawing by Camporesi. It was the frontispiece for volume one of the rare and valuable...

Adriaen de Vries 1556-1626 Dutch Laocoön and His Sons Bronze A remarkable feat of artistry and skill, this bronze sculpture was created by famed Dutch artist Adriaen de Vries. Full of the swelling emotions and dramatic posing so quintessential to the period, the bronze is a masterclass in Baroque sculpture. The original Laocoön marble sculpture, after which this remarkable bronze was modeled, unquestionably influenced the lives and works of countless artists, authors, popes, kings and emperors since its re-discovery in 1506. Famously, Michelangelo declared the sculpture, created circa 35 BC, as the “greatest piece of art in the world.” Adriaen de Vries, an apprentice of the great sculptor Giambologna, undoubtedly sought to prove his skill and creative voice with his own depiction of this most famous scene. Known for his virtuosic casting technique, this rare and important sculpture embodies de Vries’ mastery. The story of Laocoön is one of the most famous in all of literature. As told by the poet Virgil, the Greeks, after an unsuccessful ten-year siege on the city of Troy, the Greeks craftily left a giant wooden horse outside the gates...

This is a 16th century original hand-colored copperplate engraved map of View of Pezaro (Pisaro), Italy entitled "Pisaurum vulgo Pezaro" by Georg Braun & Franz Hogenberg, from their famous city atlas "Civitates Orbis Terrarum", published in Augsberg, Germany in 1575. The map depicts a view of Pesaro, Italy from the west looking over the town to the Adriatic Sea. The River Foglia flows into the Adriatic in the foreground. The only identifiable building is the cathedral of San Domenico, which rises above the other roofs with its tall spire. Two women, dressed in styles of the 16th century are in conversation on a hill in the foreground on the left. Pesaro is in the province of Pesaro and Urbino and lies on the Adriatic and east of Florence. The city, which was founded by the Etruscans and named Pisaurum by the Romans, belonged from AD 754 onwards to the Papal States, and after 1285 was controlled by the princely families of Malatesta, Sforza and della Rovere. Today it is the capital of the province of Pesaro and Urbino and has a population of about 92,000. Pesaro's most famous resident, composer Gioacchino Rossini, was born here in 1792. The following is an English translation of an excerpt from Braun's description of the city: "We believe that the astonishingly short life of the inhabitants of Pesaro comes not only from the insalubrious air, but also from the great quantity of delectable and delicious fruits which they consume to excess. For this causes the production in their bodies of evil humours, which then lead to incurably fatal diseases. The area around the city is most charming and well planted with vineyards, fig trees, olive trees and other fruit-bearing trees." 
  References: Van der Krogt 4, 3369, state 1; Taschen, Braun and Hogenberg...

This is a 17th century hand-colored map entitled "Insula Gaditana Isla de Cadiz" from Johannes (Joan) Blaeu's Atlas Maior, published in Amsterdam in 1662. The map provides an excellent plan of Cadiz Island on the southwest coast of Spain, with its harbor, fortifications, agricultural fields and several surrounding salt processing areas. Numerous sailing ships of various sizes are included in and around the harbor and bay, including five large sailing ships, as well as twenty-four smaller ships. There is a small compass rose overlying the bay. The bridge to the mainland from the island is shown on the right. There is an extremely ornate and colorful title cartouche in the lower left, with its mythological figures reminiscent of Raphael’s Galatea fresco at the Villa Farnesina in Rome. The vibrant colors are vividly preserved. The master colorist tried to emulate a painting by using various tones to create a three-dimensional effect.
 Blaeu's name is present in the plate in the lower right. Blaeu stated in his description of Cadiz: “The main wealth of the islanders consists of salt, which they harvest, and
 the tuna fisheries.” 
 This 17th century hand-colored map is framed in an ornate, partially textured bronze-colored wood frame and glazed with UV protected conservation glass. There is a vertical center fold, as issued. There is a faint crease in the lower right and faint color offset on the left from the right side of the map, resulting from having been in an atlas for hundreds of years. Small foci of paint are present in the upper portion of the left margin and in the left corner margin. The map is otherwise in very good condition. Due in large part to their powerful trade empire, the Dutch became known for cartography in the seventeenth century. This period is considered the Golden Age of Dutch cartography. Their publishing houses produced the highest quality work in Europe, particularly those maps and charts of foreign lands, and Dutch map-making set the bar for cartographic accuracy and artistry into the early-eighteenth century. Some of the most well-known cartographers worked in Amsterdam during this period. Perhaps the most famous of these was the Blaeu family. Willem Janszoon Blaeu, set up shop in Amsterdam. His son, Johannes (Joan), succeeded him upon his death in 1638, continuing in his father’s position as Hydrographer to the Dutch East India Company and selling maps to the public. The Blaeu map presses, located near Amsterdam’s Dam Square...

Artist: Francis Swaine (English, 1725-1782) Title: "Dutch Fishing Vessels in Storm" *No signature found Circa: 1770 Medium: Original Oil Painting on wood panel Framing: Framed in a Louis XV style gold moulding Framed size: 10.63" x 12.63" Panel size (irregular margins): 6" x 7.75" Condition: One small restored spot upper left. Cosmetic wear to frame. In otherwise very good condition Notes: Provenance: private collection - London, England; acquired from art dealer Ernest Alden, London, England retaining his original gallery label on verso. Metal plaque inscribed "F. Swaine 1740-1782", (active dates), attached to frame bottom center. Ernest William Alden (1866-1947) was recorded in successive censuses, in 1881 as a picture mounter (card maker), age 14, living at 9 Bloomsbury St, with several other members of his family also given as picture mounters, including his father, James; in 1891 as a picture frame mounter with his father and family at 208 Shaftesbury Avenue; in 1901 as a photographer and picture dealer at 39 King’s Road, Chelsea; and in 1911 again at 39 King’s Road but the census form is damaged. His listing in trade directories, initially as picture mount cutter, changed to picture framemaker from 1904, soon after he set up in the King’s Road. He advertised his large stock of second-hand swept and other frames, claiming to have been established in 1893 (The Year’s Art 1913). Alden died in Chelsea in 1947, leaving effects worth £5,011, with probate granted to his widow Lily Alden and to Marjorie Frances Alden. Two of his younger brothers, Henry Cyril Alden (1871-1939) and James Preston Alden (1876-1960), were also active as picture framemakers. - National Portrait Gallery, London, England. Biography: Francis Swaine (1725–1782) was a British marine painter. He was born in 1725, and christened on 7 October of that year at St Dunstan's, Stepney, London. His parents were named Francis Swaine and Ann Joel. In 1735 the elder Francis Swaine, the marine painter's father, applied in writing to the Commissioners of His Majesty's Navy for employment as a Navy Messenger, in succession to Mr William Wyatt. He mentions that he had served "upwards of twenty eight years" in the Navy, and that his father had died Purser of the Royal Katherine. He mentions also that he had carried out "little labours in drawing", and that he at that time had five small children. The first-born of these children was the Francis Swaine who became the marine painter. The elder Swaine was duly employed as a Navy Messenger. He served for 20 years and died on 10 October 1755, aged 64. Swaine is said to have been influenced by the style of Van de Velde. There is no clear evidence of this alleged influence. The suggestion that Swaine may have been a pupil of Charles Brooking...

Crispin van de Passe The Younger (c. 1594-1670) Caesar August de Bellegarde Conte de Montbar Marquis de Termes grand Ecuyer de France, c. 1660 Engraving Sight: 11 3/4 x 15 3/4 in. Fr...

This is an 18th century engraving and etching entitled "Parmigiani Amica" by Robert Strange after a painting by Girolamo Francesco Maria Mazzola, better known as Parmigianino, who lived during the Renaissance period. It was published in London in 1774. As the inscription states, the painting was in the collection of the King of Naples at the time the engraving was made. The engraving depicts a half-length portrait of a young woman, known as Parmigiani's Amica (meaning "female friend" in Italian). She is depicted wearing a simple but elegant dress with a low-cut neckline, which reveals her delicate features and graceful neck. Her hair is arranged in a simple yet stylish manner. She is turning to the right to look lovingly at her infant, which she is holding with her right arm. She is touching the baby's mouth with her left hand. The background of the engraving is plain and unadorned, allowing the viewer to focus entirely on the subject of the portrait. The result is a beautiful and timeless image that captures the essence of Renaissance portraiture. The engraving is printed on watermarked paper. The sheet measures 16.25" high and 12' wide. The sheet is adhered to paper in its upper corners and it has been removed from the paper in its lower corners. There is some mild discoloration and some wrinkling in the margins, including the lower inscription area, and a small dark spot in the upper margin, which may represent a drop of ink occuring at the time of printing. These issues do not involve the image, which is in very good condition. The print is held by several museums and institutions, including: The Metropolitan Museum of Art in New York, The British Museum in London, The Royal Museums of the UK, The British National Trust...

This richly engraved map of Rome and its environs entitled "Urbis Cum Vicis Seu Pagis Adiacentibus Dissertationi III De Aq et Aqueaed Veteris Promae Praemissa Authore Raph Fabretto G...

Crispin van de Passe The Younger (c. 1594-1670) Untitled (French Noblemen on Horseback), c. 1620-1660 Engraving Sight: 11 3/4 x 15 3/4 in. Framed: 18 3/4 x 22 5/8 in. Inscribed in p...

This is a 17th century engraved mezzotint portrait of the Duchess of St. Albans by John Smith, after a painting by Sir Godfrey Kneller. It was published in London by John Boydell in 1694. The Duchess of St. Albans (1642-1712) was a woman named Diana de Vere. She was born in 1642, the daughter of Aubrey de Vere, the 20th Earl of Oxford. In 1662, she married Charles Beauclerk, the illegitimate son of King Charles II and his mistress, Nell Gwyn. As a result of her marriage, Diana became the Duchess of St. Albans, and she and Charles had several children together. Diana was known for her beauty and charm, and she was a prominent figure in the court of King Charles II. Despite her husband's illegitimate birth, Diana was highly respected in the royal court and was known for her intelligence and wit. She was a patron of the arts and supported many artists and writers of the time. Diana lived through a tumultuous period of English history, including the Great Fire of London and the Glorious Revolution, which saw King James II replaced by William of Orange. She died in 1712 at the age of 70 and was buried in Westminster Abbey. Descendants of Diana and her husband, who was an illegitimate son of King Charles II, include Diana, Princess of Wales and her son William, Duke of Cambridge. An author wrote of her: "The line of Vere, so long renown’d in arms, Concludes with luster in St. Albans’s charms; Her conquering eyes have made their race complete, It rose in valor, and in beauty set." This striking mezzotint engraving depicts Diana, Duchess of St Albans in a three-quarter length pose, standing, wearing loose flowing dress and a wrap. She has a very serene, calm appearance as she is looking straight at the viewer. There is a landscape of trees in the background. The print is adhered in the corners to an archival backing, which is itself adhered in the upper corners to a larger backing. The print is trimmed to just beyond the plate mark. There are areas of discoloration in the margins and in the inscription area, but the print is otherwise in very good condition. The sheet measures 14.5" high and 10" wide. This mezzotint is held by multiple museums and institutions, including The British Museum, The National Portrait Gallery London, The Fine Arts Museum of Boston, The Lewis Walpole Library at Yale, The Yale Center for British Art, The Fitzwilliam Museum at Cambridge and The National Galleries of Scotland. The original Kneller painting is part of the British Royal Collection Trust and hangs in the King's Private Dining Room at Hampton Court Palace. Sir Godfrey Kneller (1646-1723) was a leading portrait painter of his time, particularly renowned for his depictions of the British aristocracy and royalty. He was born in Lübeck, Germany, and trained in Amsterdam under the painter Ferdinand Bol...

Crispin van de Passe The Younger (c. 1594-1670) Grand Écuyer de France or Grand Squire of France, c. 1620-1660 Engraving Sight: 11 3/4 x 15 3/4 in. Framed: 18 3/4 x 22 5/8 in. Crisp...

Inscribed, reverse: Fr Brina Provenance: Private Collection, New Jersey. Francesco Brina was one of the “Studiolo” painters, responsible for the panel of Neptune and Amphitrite in F...

Metamorphosis Insectorum Surinamensium, Plate No. 6; Thistle and Moths. The Netherlands: 1705. Engraving with hand coloring in w...

Flemish School, believed to be from the 16th century according to previous owner. Oil on panel depicting Saint Jerome seated in his study with various instruments and symbols around ...

This is a 16th century original hand-colored copperplate engraved map of a bird's-eye View of Embden, Germany entitled " Emuda, vulgo Embden vrbs Frisia orientalis primaria" by Georg Braun & Franz Hogenberg, in volume II of their famous city atlas "Civitates Orbis Terrarum", published in Cologne, Germany in 1575. This is a beautifully colored and detailed map of Emden, a seaport in northwestern Germany, along the Ems River and perhaps portions of over Dollart Bay, near the border with the Netherland. The map depicts a bird's-eye view of the city from the southwest, as well as a view of the harbor and an extensive system of canals. Numerous ships of various sizes, as well as two rowboats containing numerous occupants are seen in the main waterway in the foreground and additional boats line two canals in the center of the city. Two men and two women are shown on a hill in the foreground on the right, dressed in the 16th century style of nobility. Two ornate crests are included in each corner. A title strap-work cartouche is in the upper center with the title in Latin. The crest on the right including Engelke up de Muer (The Little Angel on the Wall) was granted by Emperor Maximilian I in 1495. This is an English translation of an excerpt of Braun's description of Embden: "In Emden, the capital of East Frisia, rich merchants live in very fine houses. The city has a broad and well-situated harbour, which in my opinion is unique in Holland. Frisia and the whole of the Netherlands, for the ships can anchor here right under the city walls. They have also extended the harbour as far as the New Town, so that up to 400 ships can now find shelter here when the sea is rough." The emphasis on the harbor and waterways within the city highlights the importance of Emden's place as a seaport at this time. Embden developed from a Dutch/Flemish trading settlement in the 7th-8th centuries into a city as late as late 14th century. In 1494 it was granted staple rights, and in 1536 the harbour was extended. In the mid-16th century Emden's port was thought to have the most ships in Europe. Its population then was about 5,000, rising to 15,000 by the end of the 16th century. The Ems River flowed directly under the city walls, but its course was changed in the 17th century by the construction of a canal. Emden has canals within its city limits, a typical feature of Dutch towns, which also enabled the extension of the harbor. In 1744 Emden was annexed by Prussia and is now part of Germany. It was captured by French forces in 1757 during the Seven Years' War, but recaptured by Anglo-German forces in 1758. During the Napoleonic French era, Emden and the surrounding lands of East Frisia were part of the short-lived Kingdom of Holland. References:Van der Krogt 4, 1230, State 2; Taschen, Braun and Hogenberg...

17th Century Old Master Drawing Old master drawing with figure and putti Housed in a handsome contemporary wooden frame Drawing dimensions 4...

Original stipple engraving with colors titled “Les Revers de la Fortune” (Reversal of Fortune) by the well known French engraver, Louis Marin Bonnet...

Josep Maria Riera i Aragó (Barcelona, 1954), is a Spanish plastic artist. He studied at the Faculty of Fine Arts in Barcelona. Throughout his career he ...

Price is per each framed print. "Sammlung Verschiedenr Auslandischer und Selener Vogel", Nuremberg 1770-1773. Edited by Johann Michael Seligmann (1749 -1776): engravings with origin...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: LIV, LV, LVI, & LVII. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

Three plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: XLVIII; XLIX & L. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

This is a hand-carved wood polychromed sculpture of the Infant Jesus. A baroque figure probably from the 18th century, this religious figure was obtained in Mexico. It appears to hav...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: No.1:I; No. 2:1; II & III. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

Original Self-Portrait Etching by Rembrandt van Rijn (1606-1669) Etching on paper 2 ⅛ x 1 ¾ inches unframed (5.4102 x 4.445 cm) 14 ⅛ x 12 ½ inches framed (35.8902 x 31.75 cm) Description: Rembrandt van Rijn is one of the most celebrated Dutch painters of all time, and rose to prominence in the 17th century for his characteristic use of light and contrast to convey emotion and mood. Much of his artistic practice consisted of history paintings, portraits, and self-portraits, with his rich oil paintings...

Inscribed: front, brown ink, bottom left, F. Imperiali pinx…; bottom right, R. Rol..(?). Back, brown ink, top left, Roma, Gune(?) 1742 / F. Impeririali ping…;[illegible] R. deline..(...

Metamorphosis Insectorum Surinamensium, Plate No. 26; Cocoa plant, caterpillar, pupa, and butterflies. The Netherlands: 1705. En...

The panel has been attributed both to Joan de Joanes and his son Vicente Macip Comes (Valencia, ca. 1555 – 1623). Provenance: Private Collection, England, by 1886 (according to stencils on the reverse) Private Collection, New Jersey, until 2010 The Veil of Veronica, often called the Sudarium, is one of the most important and well-known relics of Christ. According to legend, Veronica offered Christ her veil as he carried the cross to his crucifixion. He wiped his face with the veil, which left the cloth miraculously imprinted with his image. Depictions of Christ’s face on a veil, or simply images that focused in on Christ’s face, were treasured objects of religious devotion. The popularity of this format also inspired similar images of the face of the Virgin. The iconographic type of the present painting is known as the Veronica of the Virgin, which was especially favored in late medieval and early Renaissance Spain. Distinct from the images of the suffering Christ, the Veronica of the Virgin is based on the legend that Saint Luke painted a portrait of Mary from life. Although scholars have sometimes mistaken them for portraits of Queen Isabella I of Castile (known as Isabel la Católica) or as a depiction of Saint Maria Toribia (known as María de la Cabeza, or, Mary of the Head), paintings like this one were clearly intended as images of the Virgin in the style of Saint Luke’s lost portrait. The Veronica of the Virgin was especially popular in Valencia, and depictions of this subject produced there all stem back to one visual prototype: a Byzantine image in the city’s cathedral (Fig. 1). This early treatment of the Veronica was given to the cathedral in 1437 by Martin the Humane, King of Aragon and Valencia, who promoted religious veneration of the Veronica of the Virgin as part of the celebration of the Immaculate Conception of Mary. This devotion spread throughout Martin’s kingdom and particularly took hold in Valencia, where the Byzantine image resided. The image, which is displayed in a gold reliquary...

Metamorphosis Insectorum Surinamensium, Plate No. 58; Ice Cream Bean Plant, Cloudless Sulphur Butterfly and Caterpillar with Mot...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: JF Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: CXLI, CXLII, CXIII & CXLIV. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: CI; CII; CIII & CIV. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

This is an 18th century engraved and etched portrait of Johannes Wesselius by Jacobus Houbraken after a painting by Jan Maurits Quinkhard. It depicts a half-height image of Wesselius...

This is an early 18th century portrait of Sir John Powell entitled "The Honorable Sr. John Powell, Knight. one of the Justices of her Majesties' Court of Common Pleas. Ano. D 1711". It was engraved and published by John King in London in 1711, after an earlier work by William Sherwin. The engraving depicts a bust length portrait of Powell wearing an elaborate fir-trimmed robe and collar. The portrait is encompassed in an ornate oval frame, sitting on a pedestal with an impressive coat-of-arms below. This engraved portrait is printed on laid, chain-linked watermarked cream-colored paper The sheet measures 15.25" high and 11.38" wide. It is adhered to an archival thick card at the upper corners, There is a 1/8" tear at the lower edge of the sheet, but the print is otherwise in very good condition. This engraving is held by museums and institutions, including the British Museum and the Harvard University Art Museum. Sir John Powell (1632-1696) was an English lawyer and judge who served as a justice of the King's Bench from 1683 until his death. He was born in Glamorganshire, Wales, and studied at Jesus College, Oxford, before being called to the bar at the Middle Temple in 1656. Powell was known for his staunch support of the monarchy and the Church of England, and he played a prominent role in the trial of the Whig leader Lord William Russell in 1683, which resulted in Russell's execution for his alleged involvement in a plot to assassinate King Charles II. Powell was also involved in the trials of several other prominent Whig politicians, including Algernon Sidney and Titus Oates. In addition to his work as a judge, Powell was also a member of Parliament for various constituencies throughout his career, and he served as Solicitor General and Attorney General for Wales under King James II. However, he opposed James's efforts to promote Catholicism and supported the Glorious Revolution of 1688, which led to James's overthrow and the installation of William and Mary as joint monarchs. Powell was known for his intellectual rigor and his legal expertise, and he authored several influential legal treatises during his lifetime. He was widely respected by his peers and by the legal community as a whole, and his legacy as a jurist and judge continues to be celebrated today. William Sherwin (1645-1709) was an English engraver who worked during the late 17th and early 18th centuries. He was born in Chesterfield, Derbyshire, and is known for his high-quality engravings of various subjects, including portraits, landscapes, and architectural views. Sherwin was trained as an engraver and worked as an apprentice to the renowned engraver Robert White. After completing his training, he went on to establish his own studio in London, where he produced a significant body of work over the course of his career. One of Sherwin's most famous works is his engraving of the portrait of John Locke...

Provenance: (Possibly) Wilhelm Suida; thence by descent to: Robert L. and Bertina Suida Manning, New York, until 1996 Private Collection, USA Traditionally attributed to the French...

This exquisite hand-colored 18th century folio-sized engraving of a papaya plant and moth metamorphosis is plate 64 from Maria Sibylla Merian's publication '...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With one 1.5 inch inch tear across the area of the top-left corner, well outside of image area. Handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: CXXI, CXXII, CXXIII, & CXXIV. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

This attractive and interesting map of Bermuda by Henricus Hondius in 1633 is entitled "Mappa Aestivarum Insularum, Alias Barmudas". It is based on a ...

"Plovers at Tamagawa" from "Six Jewel Rivers" - Woodblock Print on Paper This print, sometimes titled "Chidori No Tamagawa" "Plovers at Tamagawa", is from the series Mu Tamagawa ("Six Views of Tama River", also known as "Six Jewel Rivers" or "Six Crystal Rivers") by Kubo Shunman...

Provenance: Cornelius Vanderbilt, New York; by whom gifted in 1880 to: The Metropolitan Museum of Art, New York (80.3.673); deaccessioned and sold: Christie’s, New York, 12 June 19...

Etching on cream wove paper, 4 3/4 x 3 3/4 inches (120 x 95 mm), wide margins. Scattered light surface soiling, unevenly trimmed wide margins, all consistent with age. Likely printed...

This early 18th century hand-colored copperplate map of North and South America entitled "Totius Americae Septentrionalis Et Meridionalis Novissima Repraesentatio" was created by Johann Baptist Homann and published in Nuremberg, Germany, between 1710 and 1731. The map details cities, forts, mountains, forests and lakes, as well as districts. There is a decorative cartouche in the lower left which depicts a volcano, scenes representing the people in their native costumes, as well as animals and plants of the Americas. A village is seen in the background on the left. A second smaller decorative cartouche in the upper right includes text and a series of allegorical figures. A large portion if the north central and western portions of North America is left without detail, because the region was largely unexplored at the time this map was created. The map also shows "Terra Esonis Incognita", representing a mythical continuous land bridge from North America to Asia, a northwest passage. The map preceded the French and...

This is a 16th century original hand-colored copperplate engraved map of Tournai, Belgium, entitled "Tornacum" by Georg Braun & Franz Hogenberg, in volume IV of their famous city atlas "Civitates Orbis Terrarum", published in Cologne or Augsberg, Germany in 1575. The map provides a bird's-eye view of the walled city of Tournai, the second oldest city in Belgium. It lies approximately one hour by car southwest of Brussels or from Ghent. The names of thirty of its streets, prominent buildings, churches and squares are listed in a key within a strap-work cartouche in the lower left. These locations are numbered in the key corresponding to their locations on the map. This colorful map of Tournai (Tornacum or Tournay as it was called in the 16th century) includes the title in Latin in a cartouche in the upper center. Three crests are present across the upper map. A man and two woman are standing on a hill in the foreground in the lower right dressed in the style of 16th century upper class residents of the town. This is an English translation of an excerpt of Braun's description of Tornai: “Tornacum or Turnacum is a city in Gallia Belgica, situated on the Schelde in the territory of the Nervii, called Tournai by its French inhabitants, but Dorneck by the Germans. Tournai has always been a large and powerful city, with an abundance of goods and commercial activities and wonderfully resourceful craftsmen, who invent new articles every day, and although some of these go out of use they constantly conceive of other new things, both useful and delightful, so that they have at all times something that provides work and a means of livelihood for the poor." ReferencesVan der Krogt 4, 4435, State 1; Taschen, Braun and Hogenberg...

Provenance: Private Collection, USA. This drawing is by Ercole Procaccini the Younger, who represents the final generation of painters in the storied Procaccini family. The son of C...

This is an 18th century mezzotint portrait of Elizabeth, Countess of Northumberland, Baroness Percy by Richard Houston after a painting by Joshua Reynolds, published in London by Robert Sayer in 1763. It is a rare, full length portrait of Elizabeth, who was known as Lady Betty. Lady Betty stands, facing to the right, holding her coronet, and wearing her peeress’s ermine and velvet robes over a brocade dress. In the background are a column, a billowing drape, and the grounds of Alnwick Castle...

This is a 17th century engraving entitled "Messire Nicolas Lambert Seigneur de Thorigny, Conseiller du Roy" by Pierre Drevet after a painting by Noicolas de Largillière, published in Paris in 1698. This portrait depicts a three-quarter length view of Nicolas Lambert de Thorigny, who is dressed in elaborate robes and collar of a wealthy Parisian nobleman of the time. He is seated directed to the left and looking directly at the viewer. He is holding an inscribed note in his right hand. A magnificent billowing curtain is in the background. Lambert's coat of arms is shown in the center of the lower inscription area. In the inscription area is lettered with title, production detail: "Nic. Largilliere pinxit" and "Petr. Drevet sculpsit", and publication detail: "Se vend a Paris chez Drevet rüe du Foin au coin du College de Maître Gervais". Nicolas Lambert, Seigneur de Thorigny (1600-1664), was a French nobleman and military commander who lived in the 17th century. He served in the French army during the Thirty Years' War, a conflict that took place from 1618 to 1648 and involved many European powers. Lambert fought in several battles during the war and rose to the rank of colonel. After the war, Lambert returned to France and became involved in politics. He served as a member of the Estates General, a legislative body that advised the king, and as a governor of several provinces. He was a counsellor and confidant of King Louis XIV. He had the title of Président de la Chambre des Comptes. He also became a member of the French Academy of Sciences, a prestigious institution that promotes scientific research and scholarship. Lambert was known for his military expertise, his intelligence, and his commitment to public service. He iInherited the Hôtel Lambert in Paris from his brother Jean Baptiste in 1644 and hired some of the most prominent artists of the time, including Charles Le Brun to decorate and furnish the building. This beautiful old master engraving was created with impressive detailed technique. It is printed on laid, chain-linked paper. The sheet measures 18.5" high and 13.38" wide. The sheet is adhered to an archival backing paper at the top. There is a faint horizontal center fold and mild discoloration in the inscription area and in the upper margin on the right, with mild wrinkling here. The print is otherwise in very good condition, considering its age. This engraving is so rare, that no comparable prints could be identified for sale online. It is currently only listed in museum collections, including: The Metropolitan Museum of Art, The British Museum, The Louvre, The Riksmuseum, The Victoria & Albert Museum, The Fitzwilliam Museum at the U. of Cambridge, The Boston Museum of Fine Arts, Harvard Art Museums, The Finnish National Museum, The Philadelphia Museum. It is shown in the Metropolitan Museum's Cataloque of French paintings entitled: "French Paintings in The Metropolitan Museum of Art, published in 2018, page 36. The page is included in the photos. Nicolas de Largillière (1656-1746) was a French portrait painter who achieved great success and acclaim during the late Baroque and Rococo periods. He was born in Paris and trained under the painter Antoine Goubeau. He studied in Antwerp and London before returning to France. While in England he was a favorite painter of King Charles II and King James II of England...

The Infant Jupiter Nursing from the She-Goat Amaltheia (The Birth of Jupiter) Red chalk and wash on off-white paper, c. 1700 Unsigned Attribuuted to Quaini by Dwight Miller, the sch...

This is a mid 18th century engraved portrait of Abel François Poisson de Vandières, Marquis de Marigny by Jean Georges Wille after a painting by Louis Tocque...

Etching on tissue thin laid paper. 4 3/8 x 3 1/16 inches (110 x 78 mm), trimmed at plate mark. A very good, well inked impression. Only known state. Adhered at all four corners to ar...

Provenance: John Barnard, London (Lugt 1419) or possibly Saint John Dent, London and Milton (Lugt 1438) Unidentified collector’s mark “W,” lower left of the mount (Lugt 2591a) Private Collection, USA. This expressive and boldly executed drawing is a work by Francesco Maffei...

Pen and sepia ink wash on cream laid paper, 4 1/8 x 6 3/16 inches (103 x 152 mm). In good condition with scattered areas of light brown discoloration, and un...

This is an 18th century hand-colored copperplate engraved map entitled "Europa Regnorum Provinciarum Regionum" created by the German cartographer Tobias Conrad Lotter. It was publish...

Graphite on greenish gray wove paper. 15 1/4 x 11 5/8 inches (390 x 295 mm). Initialed "G. B." in pencil on the lower right recto. In generally good condition with some minor scattered surface soiling. Condition is consistent with age. ____ This drawing is closely related to two known mid 18th century oils...

The pair consists of the present work and an engraving after it by the hand of Giles DeMarteau (Liège 1722 – 1776 Paris) titled Woman in Fantasy Costume, after Jean Baptiste Le Prince, and measuring, 10 ⅜ x 8 ⅝ inches (26.5 x 22 cm). DeMarteau's engraving is inscribed at the bottom: Le Prince inv. del. / Demarteau sc. / A Paris ches Demarteau Graveur du Roi, rue de la Pelterie à la Cloche...

Up for sale is an unusual unique antique 18-century original oil painting on board depicting a figure of a gentleman wearing a white wig and dressed in a red jacket and white jabot, typical of the period. His face is almost comical in its expression and exaggerated features. Possibly part of a larger composition. Attributed to THOMAS PATCH...

The composition repeats that of a large altarpiece designed by Annibale Carracci for the church of San Francesco a Ripa, Rome (now in the Louvre, Par...

c. 1654. Etching with engraving on thin laid paper with an early and large unidentified watermark with a sundial and a many-pointed star, and an unidentified collector's stamp in the...

Provenance: Ivan E. Phillips, Montreal and New York, until 2023. The brothers Bartolomé Carducho and Vicente Carducho, both born and trained in Florence, settled in Spain where they made their careers. Vicente worked on numerous commissions for both the church and the Spanish court...