Corneille Vermeulen Furniture

A pair of fine engravings of two Swedish monarchs by Samuel Blessendorf for Puffendorf’s History of Sweden, in antique birch frames, 1663 and 1696. Engravings of Swedish King Karl X Gustav (b. 1622 - d. 1660) dated 1663 and his successor, King Karl XI (b. 1655 - d. 1697) from 1696 by Samuel Blessendorf, a Prussian enamel painter and engraver, born in Berlin in 1670. He designed and engraved these portraits for Puffendorf’s History of Sweden by Freiherr Samuel von Pufendorf (1632-1694), Historiographer to King Karl X of Sweden. Freiherr Samuel von Pufendorf (b 1632 – d 1694) was a German jurist, political philosopher, economist and historian. He was born Samuel Pufendorf and ennobled in 1684 when he was made a baron by Charles XI of Sweden a few months before his death at age 62. Among his achievements are his commentaries and revisions of the natural law theories of Thomas Hobbes...

Beautiful set of six 17th century botanical engravings by Jan and Caspar Commelin. Presented in silver frames with hessian mounts and AR70 Art...

John Parkinson was the last of the great English herbalists and one of the first of the great English botanists. Here the pair of prints show mosses and lichen and the other of ferns. From: Paradisi in sole Paradisus Terrestris: or a garden of all sorts of pleasant flowers...

Beautiful original Basilius Besler engraving of Pansies and Hyacinth dating to 1613 with later hand-coloring.

"Daily Life in Brazil" This striking copper engraving, part of Arnoldus Montanus' "Die Unbekannte Neue Welt oder Beschreibung des Welt-teils Amerika und des Sud-Landes", presents a ...

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

Beautiful set of 4, 17th century botanical engravings by Jan and Caspar Commelin. Presented in silver frames with hessian mounts and AR70 Artglass for optimal clarity. Jan Commelin...

Beautiful set of nine 17th Century Dutch botanical engravings from Rheede's Hortus Indicus Malabaricus. Presented in hand painted faux bamboo frames with hessian mounts and Ar70 art ...

17th century pair of engravings by Carlo Cesio, (Italian 1626-1686) depicting painting by Annibale Carracci.

"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...

Executed with a Degas-like sight-line and with a clear influence of the Japanese woodblock prints that so fascinated him, Henri de Toulouse-Lautrec created this incredible lithograph, composed of deep contrasts at the behest of the performer whose name appears on the print, "May Milton...

Aptly titled "Jane Avril," celebrated lithograph artist Henri de Toulouse-Lautrec captures here, in static form, the very particular brand of motion Avril f...