Portraits (16)

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1841 McKenny Hall Large Folio Antique Print Chippeway Indian Native American

1841 McKenny Hall Large Folio Antique Print Chippeway Indian Native American

Description:
This beautifully hand coloured original antique folio lithograph print of KA-TA-WA-BE-DA (Katawabeda) “Old Tooth” of the Chippeway Tribe was engraved and hand coloured in 1841 - the date is engraved at the foot of the print - by J.T. Bowen and was published in the folio edition of McKenny-Hall`s History of the Indian Tribes of North America published between 1837 and 1844

McKenney and Hall's Indian Tribes of North America has long been renowned for its faithful portraits of Native Americans. The portrait plates are based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. 

As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1839, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west.

Both authors, not unlike George Catlin, whom they tried to enlist in their publishing enterprise, saw their book as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath). McKenney provided the biographies, many based on personal interviews, and Hall wrote the general history of the North American Indian. This was the most elaborate plate book produced in the United States to date, and its publication involved a number of different printers and lithographers. The publication of volume I (in 1836) was initially undertaken by Edward C.Biddle, Biddle's firm was taken over by Frederick W. Greenough, who re-issued vol.I and published the first issue of vol.II in 1842. Later, Greenough's firm was replaced by the printing firm of Rice and Clark who reissued vol. I and vol.II and published the first issue of vol.III in 1844. The printing of the plates was chiefly carried out by Peter Duval of Lehman and Duval and James T. Bowen. 
(Ref: BAL 6934; Bennett p.79; Field 992; Howes M129; Lipperhiede Mc4; Reese, American Color Plate Books 24; Sabin 43410a).

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - Off white
Age of map color: - Original
Colors used: - Blue, grey, red, brown.
General color appearance: - Authentic
Paper size: - 18in x 13in (495mm x 344mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Light age toning, light spotting
Plate area: - Small repair not affecting the image, light offsetting
Verso: - Light age toning & spotting

$650.00 USD
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1824 Louis Freycinet Antique Print Chief of Waigeo Is & Man of Gebe Is Indonesia

1824 Louis Freycinet Antique Print Chief of Waigeo Is & Man of Gebe Is Indonesia

  • Title : Iles Des Papous  - 1. Abas, frere du Kimalaha de l ile Guebe 2. Aas, chef du village de Kabarei
  • Ref #:  31740
  • Size: 19in x 12 1/2in (485mm x 320mm)
  • Date : 1822
  • Condition: (A) Very Good Condition 

Description:
This magnificent large hand coloured original copper-plate engraved antique print of 1. Abas man of the Maluku Indonesian Island of Gebe & 2. Aas The Chief of the village of Kabarei on the Indonesian Island of Waigeo (Plate no. 39) by Alphonse Pellion, artist aboard the ship L Uranie (visited by Louis Freycinet in late 1818) was engraved by Jean-F Choubard and published in the 1824 1st edition of Louis De Freycinets Atlas Voyage autour du monde fait par ordre du Roi sur les corvettes de S. M. l\'Uranie et la Physicienne, pendant les années 1817, 1818, 1819 et 1820 
These magnificent large hand coloured 1st edition engravings are extremely scarce and a must for any collection.

Alphonse Pellion, artist and naval draughtsman, was a midshipman aboard l Uranie on Louis de Freycinets three-year scientific and ethnographic expedition around the world in 1817-1820. Pellion assisted the official artists, Arago and Taunay.
Waigeo is an island in West Papua province of eastern Indonesia. The island is also known as Amberi, or Waigiu. It is the largest of the four main islands in the Raja Ampat Islands archipelago, between Halmahera and about 65 kilometres to the north-west coast of New Guinea. The Dampier Strait (a.k.a. Augustas Strait) separates it from Batanta, and the Bougainville Strait from the Kawe Islands to its north-west. The inner sea that nearly cleaves the island in two is the Majoli Gulf. Jorge de Menezes, a Portuguese explorer, landed on Waigeo Island in 1526-27.
Gebe is an island of Maluku Islands, Indonesia.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 19in x 12 1/2in (485mm x 320mm)
Plate size: - 13in x 9 ½in (330mm x 240mm)
Margins: - Min 2in (50mm)

Imperfections:
Margins: - Light offsetting
Plate area: - Light offsetting
Verso: - Light offsetting

Background: 
After the Restoration the French government gave Freycinet, then a captain, command of another expedition to circumnavigate the globe and conduct research into the shape of the earth, meteorology and terrestrial magnetism. He sailed from Toulon on 17 September 1817 in L Uranie with his wife Rose who secreted herself aboard, and who wrote a separate account of the voyage. After refreshing at the Cape of Good Hope and Mauritius he landed at Shark Bay, Western Australia on 12 September 1818 where he set up an observatory, thoroughly surveyed the inlets and the coastal districts and removed the plate left by Willem de Vlamingh, which he had found and re-erected in 1801. He then sailed north to Timor. His accounts and description of the landscape and life and customs of that and other islands in the East Indies captivated the attention of people in Europe much more than his Australian reports, and a widespread interest developed in the expedition. Leaving Timor on 27 November he sailed via the Moluccas, the Carolines, the Marianas, and the Sandwich Islands and reached Port Jackson on 19 November 1819, the scientists on board adding constantly to their store of information on hydrography, botany, cartography and anthropology. After spending Christmas ashore, they sailed on 26 December and, falling in with the westerlies, set a course for Cape Horn.
On 13 February 1820 L Uranie was wrecked on the Falkland Islands; the scientific records and notes were saved before the vessel foundered, but 2500 of the 4175 plant specimens were lost. Freycinet returned to France in November 1820 and died on 18 August 1842.
There is no evidence in the expedition\'s records or French governmental archives to suggest that there were political objectives in this circumnavigation but, though its purpose was to engage in scientific discovery, this first major voyage undertaken by the restored Bourbons did show the French flag in distant seas and foreshadowed a series of other expeditions which were not wholly scientific.

$475.00 USD
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1695 Cornelis Vermeulen Antique Print Portrait, Map-Maker Alexis Hubert Jaillot

1695 Cornelis Vermeulen Antique Print Portrait, Map-Maker Alexis Hubert Jaillot

  • Title : Alexius Hubertus Iaillot, Regis Christianissimi Geographus Ordiniarius, 1695
  • Size: 17 1/2in x 14in (445mm x 355mm)
  • Condition: (A) Very Good Condition
  • Date : 1695
  • Ref #:  92818

Description:
This magnificent large original copper plate engraved antique frontispiece, a portrait of the French cartographer Alexis Hubert Jaillot, was engraved in 1695 - dated - by the Flemish engraver Cornelis Martinus Vermeulen was published in the 1700 edition of Jaillots Atlas francois contenant les cartes geographiques dans lesquelles sont tres exactement remarquez les empires, monarchies....

Cornelis Martinus Vermeulen 1644 – 1708 was a Flemish Baroque engraver. According to the RKD he made prints after Adriaen van der Werff, and in Paris he made prints after Pierre Mignard, Hyacinthe Rigaud and others. He is not to be confused with Cornelis van der Meulen. He taught his son Andries Vermeulen, who also became an artist.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 17 1/2in x 14in (445mm x 355mm)
Plate size: - 16in x 12 1/2in (405mm x 320mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Soling to margins, slight loss to bottom margin not affecting the image
Plate area: - None
Verso: - Soiling

Background: 
Alexis Hubert Jaillot was a French sculptor, engraver, publisher and cartographer; holding folio atlas in right hand and compass in left, more books behind. As a native of Franch-Comté, he followed his elder brother, Pierre Simon, to Paris in 1657. From 1664 he was student at the St. Lucas Academy. In 1665 he was created Sculpteur du Roi and in 1678, Sculpteur and Geographe ordinaire du Roi - i.e. official geographer to King Louis XIV. His most famous works include the Atlas Nouveau, first published in 1674 (reissued in numerous editions, including Dutch editions by Mortier and Covens and Mortier) and Neptune François (1692), as well the Atlas francois contenant les cartes geographiques dans lesquelles sont tres exactement remarquez les empires, monarchies royaumes et estats de l Europe, de l Asie, de l Afrique et de l Amerique (1695), to which this portrait served as a frontispiece.

$425.00 USD
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1632 Henricus David Large Antique Portrait of Cartographer Giovanni A Magini

1632 Henricus David Large Antique Portrait of Cartographer Giovanni A Magini

  • TitleIo. Antonius Maginus Pat. Mathemat. In Bonon. Gymn. Profess
  • Date : 1632
  • Condition: (A+) Fine Condition
  • Ref:  92835
  • Size: 17 1/2in x 11in (445mm x 280mm)

Description: 
This fine beautifully hand coloured original antique portrait of the Italian Cartographer Giovanni Antonio Magini was engraved by Henricus David in 1632 - date is engraved below portrait.

Giovanni Antonio Magini (1555-1617) was an Italian mathematician, cartographer and Professor of Astronomy in Bologna. He is responsible for publishing an edition ofPtolemy's Geographia in 1596 that contained 27 maps of the ancient world drawn from the text of Claude Ptolemy, along with 27 contemporary or modern maps. His maps were used by Blaeu in 1640. (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - off white
Age of map color: - Original
Colors used: - Yellow, green, red, brown.
General color appearance: - Fresh
Paper size: - 17 1/2in x 11in (445mm x 280mm)
Plate size: - 12n x 8 1/2in (305mm x 215mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Light dis-colouration in top margin
Plate area: - None
Verso: - None

$375.00 USD
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1712 Winter Antique Large Print Portrait of Johann Baptiste Homann

1712 Winter Antique Large Print Portrait of Johann Baptiste Homann

Description:
This finely engraved original antique print, a portrait of the early 18th century German Cartographer Johann Baptiste Homann after a painting by Joannes Krenckel was engraved by Wilhelm Winter and published in 1716 for Homann's Grosser Atlas.

Stunning full portrait of the Imperial Geographer of the Holy Roman Empire, Johann Baptist Homann (1664-1724) who was born in the Bavarian town of Kammlach.
Educated at a Jesuit school, he eventually became a member of the Prussian Academy of Sciences. As an Imperial Geographer he had special printing privileges, which were not only the best reference for customers but also gave him exclusive rights in his various endeavours as an engraver, publisher, cartographer, and a scientist. Homann died in Nuremberg, with the company, under his heirs, lasting until 1848.
After a painting by Joannes Krenckel (1688–1722), engraved by Wilhelm Winter (1696–1765). (Ref: Tooley; M&B)

General Description:
Paper thickness and quality: - Heavy and stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 21in x 11 3/4in (560mm x 295mm)
Plate size: - 15 1/4in x 11in (390mm x 280mm)
Margins: - Min 1/4in (7mm)

Imperfections:
Margins: - Light soiling bottom right corner
Plate area: - None
Verso: - None

$325.00 USD
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1878 Leon Richeton after Gainsborough Antique Print of a Young Gentleman, William III

1878 Leon Richeton after Gainsborough Antique Print of a Young Gentleman, William III

Description: 
This fine, original antique print of a young gentleman - possibly William III -  by the master etcher Leon Richeton - signature engraved at the base of the print - was published in the 1878 edition of The Portfolio.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by in the mid to late 19th century. Such is the quality of his re-strikes these prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

Background:
Leon Richeton (1854 - 1934) was an etcher, etched landscapes, and copied works by other artists, such as Sir Thomas Lawrence and Gainsborough. He published etchings in The Portfolio, and etched illustrations for Alfred Egmont Hake's Paris Originals..., London, 1878.
Thomas Gainsborough FRSA (1727 – 1788) was an English portrait and landscape painter, draughtsman, and printmaker. He surpassed his rival Sir Joshua Reynolds to become the dominant British portraitist of the second half of the 18th century. He painted quickly, and the works of his maturity are characterised by a light palette and easy strokes. He preferred landscapes to portraits, and is credited (with Richard Wilson) as the originator of the 18th-century British landscape school. Gainsborough was a founding member of the Royal Academy.

$275.00 USD
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1870 Augustin Mongin after Sir Peter Lely Antique Print of Princess Mary II as Diana

1870 Augustin Mongin after Sir Peter Lely Antique Print of Princess Mary II as Diana

Description: 
This fine, original antique print of A Young Princess Mary II by the master etcher Augustin Mongin - signature engraved at the base of the print - after Sir Peter Lely was engraved and published in the 1878 edition of The Portfolio.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by in the mid to late 19th century. Such is the quality of his re-strikes these prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background.

General Description: 
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

Background:
Augustin Mongin:
A nineteenth century French painter and etcher, Augustin Mongin studied art in Paris under Gaucherel. He first exhibited at the Paris Salon in 1874 and during the following years received medals in 1876, 1885, 1887 and 1889. Augustin Mongin was elected to the Societe des Artistes Francais in 1887 and, in 1900, was awarded both the Chevalier de la Legion d'honneur and the medaille d'honneur. In his etchings, Augustin Mongin was best known for his for works after the art of old masters such as Karel du Jardin, Reynolds and Peter Lely. He was also commissioned by publishers in both France and England for etchings after contemporary artists, such as H. G. Glindoni.

Princess Mary is depicted as Diana, the goddess of hunting; in this guise she carries a bow, wears a crescent moon and is followed by a greyhound. Her rich silk gown recalls the dresses worn by the Windsor Beauties series in the Royal Collection painted by Lely. The landscape background reminds us of the work of Titian, whom the artist admired.

$275.00 USD
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1870 Charles Murray after Bartolome Esteban Murillo Antique Print - Murillo Self Portrait

1870 Charles Murray after Bartolome Esteban Murillo Antique Print - Murillo Self Portrait

  • Title : Bart Murillo seipsum depin gens. pro filorum votis acprecibus explendis
  • Date : 1870
  • Condition: (A+) Fine Condition
  • Ref:  22446
  • Size: 13 1/2in x 9 1/2in (350mm x 240mm)

Description: 
This fine, original antique Heliograph self portrait of the Spanish artist Bartolome Esteban Murillo by the German engraver Heinrich Aldegrever or Aldegraf in the early 16th century was re-engraved and published by Charles Oliver Murray in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued in the mid to late 19th century. Such is the quality of his re-strikes that many of these prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background.

The Latin inscription on the cartouche at the centre of the ledge explains that the self-portrait was made at the request of Murillo's children: 'Bart (olo) mé Murillo portraying himself to fulfil the wishes and prayers of his children - or sons'. Despite the unlined appearance of the face the painting is probably relatively late in date, of the early 1670s, when Murillo's children would have been of an age to take pride in their father's achievements. The composition is based on a formula that had been developed for portrait engravings used on the frontispiece of books. The sitter is shown in an oval frame and on the ledge below are the instruments of his profession, a palette and brushes on the right and a drawing and pencil on the left. 

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: -  General color appearance: - 
Paper size: - 13 1/2in x 9 1/2in (350mm x 240mm)
Margins: - Min 1/2in (12mm)

 Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background:
Bartolomé Esteban Murillo (born late December 1617, died April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times.

Charles Oliver Murray (1842–1923) was a Scottish engraver. Born in Roxburghshire in 1842, Murray trained at the Trustees Academy in Edinburgh and moved to London by 1872. He was elected a Fellow of the Society of Painter-Etchers on 7 May 1881. He published widely in The Art Journal from the 1880s onwards and frequently exhibited at the Royal Academy. Murray died in London in 1923.(Ref: M&B; Tooley)

$275.00 USD
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1878 Leon Richeton after Rembrandt of an Antique Print - Portrait of a Boy

1878 Leon Richeton after Rembrandt of an Antique Print - Portrait of a Boy

Description: 
This fine, original antique print the Portrait of a Boy by Rembrandt Harmenszoon Van Rijn in the mid 17th century was re-engraved by Leon Richeton and published in the 1878 edition of The Portfolio. 
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by in the mid to late 19th century. Such is the quality of his re-strikes these prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background.

General Description: 
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

Rembrandt Harmenszoon Van Rijn (1606-1669)  was a Dutch draughtsman, painter, and printmaker. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. Unlike most Dutch masters of the 17th century, Rembrandt's works depict a wide range of style and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and hCharles Amand Durandistorical scenes, biblical and mythological themes as well as animal studies. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age, when Dutch art (especially Dutch painting), although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres. Like many artists of the Dutch Golden Age, such as Jan Vermeer of Delft, Rembrandt was also an avid art collector and dealer.

Leon Richeton (1854 - 1934) was an etcher, etched landscapes, and copied works by other artists, such as Sir Thomas Lawrence, Gainsborough & Rembrandt and others. He published etchings in The Portfolio, and etched illustrations for Alfred Egmont Hake's Paris Originals..., London, 1878.

$275.00 USD
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1870 Charles Amand-Durand after Mattaus Zaisinger Antique Print - The Embrace

1870 Charles Amand-Durand after Mattaus Zaisinger Antique Print - The Embrace

Description:
This fine, original antique Heliograph of The Embrace by Master M Z or Mattaus Zaisinger in 1503 was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Matthaus Zaisinger (aka Master M.Z.), German (1498 - 1555) was a German Goldsmith & Engraver who published twenty-two engravings with the signature initials MZ. Six are dated (1500, 1501, 1503). There are no later dated prints and it is believed that most of his work is concentrated around c1500. The prints are equally divided between religious and secular subjects, often a state of disquiet inhabits his figures, accompanied by eccentric use of perspective and abrupt changes in scale, as seen for example in The Embrace and Solomons Idolatry. Most of his works have landscape backgrounds executed with a delicate, atmospheric touch that suggests a precursor of Albrecht Altdorfer and other painters of the Danube school.

<b>The Embrace</b> contains all of the elements of an adulterous tryst with the stag horns on the chandelier being a common symbol of cuckoldry, but the woman seems an unenthusiastic participant.

$275.00 USD
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1870 Charles Amand-Durand after Johann Ladenspelder Antique Print #49 Tarot Card

1870 Charles Amand-Durand after Johann Ladenspelder Antique Print #49 Tarot Card

Description:
This fine, original antique Heliograph of card #49 of the Mantegna Tarocchi or Tarot Cards by the German engraver Johann Ladenspelder in the mid 16th century was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Johann (Hans) Ladenspelder 1512 - 1574 (aka Hans of Essen) was a german printmaker and engraver. He is particularly known for engraving a copy of a complete set (E series) of Mantegna Tarocchi cards, one of the earliest complete sets still extant.

$275.00 USD
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1870 Amand-Durand after Heinrich Aldegrever Antique Print - Parable of Lararus

1870 Amand-Durand after Heinrich Aldegrever Antique Print - Parable of Lararus

  • Title : Erumnos hic lazar iages ad ianva divitis/Dives epvlo elamis
  • Date : 1870
  • Condition: (A+) Fine Condition
  • Ref:  22444
  • Size: 13 1/2in x 9 1/2in (345mm x 240mm)

Description:
This fine, original antique Heliograph two panels of the parable of The Rich Man and Lazarus or Dives and Lazarus or Lazarus and Dives by the German engraver Heinrich Aldegrever or Aldegraf in the early 16th century was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Heinrich Aldegrever or Aldegraf (1502–1561) was a German painter and engraver. He was one of the Little Masters, the group of German artists making small old master prints in the generation after Dürer.
Painter, printmaker and goldsmith active in a Westphalia milieu. Born in Paderborn. His real name was Trippenmecker, which in Westphalian dialect means a clog-maker. It is not known where Aldegrever was taught. He probably worked in a workshop of one of the Soest goldsmiths. His early works show a strong Westphalian influence. Aldegrever made a journey to the Netherlands, where he became acquainted with works of Joos van Cleve, Barendt van Orley, Lucas van Leyden and Jacob Cornelisz.
Around 1525 he moved to Soest, where a year later he painted the wings and predella of the Mary altar for the church of St. Peter. His signature and symbolic clog show that he was still using his fathers name.
His first engravings appeared in 1527. They were signed with a monogram AG, resembling closely that of Albrecht Dürer. In 1531, influenced by surrounding religious fervour, he became a Lutheran. Because of lack of church commissions he devoted most of his time to portrait painting and printmaking. Aldegrevers some 290 engravings and woodcuts, chiefly from his own designs, are delicate and minute, though somewhat hard in style, and entitle him to a place in the front rank of the so-called Little Masters: Barthel Beham, his brother Hans Sebald Beham, and Georg Pencz, with whom he is often compared. Like them, he was also a skilled ornament designer. From the close resemblance of his style to that of Albrecht Dürer he has also sometimes been called the Albert of Westphalia.
About a third of his prints were ornamental engravings; they were used as models by artists and craftsmen well into the seventeenth century.
Aldegrever, who actively supported the Reformation, executed portraits of Martin Luther and Philip Melanchthon. Although he chose the Lutheran Church, he had friends among the Anabaptists. He was commissioned by the bishop of Münster in 1535–36 to engrave portraits of Anabaptist leaders Jan van Leyden and Bernhard Knipperdolling, although they were already imprisoned, and only caricatures of them circulated. In the cycle Power of Death, done under visible influence of Hans Holbein, he criticizes the vices of the Catholic Church.
Aldegrever was interested also in folk subjects. In 1538 and 1551 two series of prints depicting marriage dances were made. An important part of his oeuvre are prints on mythological subjects, the Deeds of Hercules being one of the best examples.
Only two paintings are firmly attributed to him: the wings and predella of the Marienaltar (c. 1525-6) in the Wiesenkirche in Soest, and a portrait of Graf Phillip von Waldeck (1837) in Schloss Aroldsen

The parable of the rich man and Lazarus(also called the Dives and Lazarus or Lazarus and Dives) is a well-known parable of Jesus appearing in the Gospel of Luke.
The Gospel of Luke (Luke 16:19–31) tells of the relationship, during life and after death, between an unnamed rich man and a poor beggar named Lazarus. The traditional name Dives is not actually a name, but instead a word for rich man, dives in the text of the Latin Bible, the Vulgate. The rich man was also given the names Neuēs (i.e. Nineveh) and Fineas (i.e. Phineas) in the 3rd and 4th centuries.
Along with the parables of the Ten Virgins, Prodigal Son, and Good Samaritan, it was one of the most frequently illustrated parables in medieval art, perhaps because of its vivid account of an afterlife.

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1870 Amand-Durand after Van Leyden Antique Print The Annunciation to Virgin Mary

1870 Amand-Durand after Van Leyden Antique Print The Annunciation to Virgin Mary

Description:
This fine, original antique Heliograph of The Annunciation, the Virgin Mary visited by the Angel Gabriel by Lucas Van Leyden (1494 - 1533) in 1508 was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Lucas van Leyden (1494 – 1533), also named either Lucas Hugensz or Lucas Jacobsz, was a Dutch engraver and painter. He was among the first Dutch exponents of genre painting and is generally regarded as a very accomplished engraver.
Lucas was the son of Huygh Jacobsz. and was mainly active in Leiden.
Carel van Mander characterizes Lucas as a tireless artist, who as a child annoyed his mother by working long hours after nightfall, which she forbid not only for the cost of candlelight, but also because she felt that too much study was bad for his sensibilities. According to Van Mander, as a boy he only consorted with other young artists, such as painters, glass-etchers and goldsmiths, and was paid by the Heer van Lochorst (Johan van Lockhorst of Leiden, who died in 1510) a golden florin for each of his years at age 12 for a watercolor of St. Hubert.
From 1513 to 1517, Lucas created a series of woodcuts called The Power of Women which consisted of two large and small sets of prints. The series is one of a number of representations of the Power of Women theme, which was extremely popular in Renaissance art and literature. Artworks in the genre depict the traditional roles of men and women in inverse, with women dominating over men in various situations. The subjects illustrated often consist of legendary historical women who were considered to be virtuous heroines as well as women who were considered cunning, seductive, and manipulative of men. The purpose of the Power of Women theme was to demonstrate that even the strongest and wisest of men were not resistant to the sexuality of women.

The Annunciation (from Latin annuntiatio), also referred to as The Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yeshua, meaning YHWH is salvation.
According to Luke 1:26, the Annunciation occurred in the sixth month of Elizabeth\'s pregnancy with John the Baptist. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. The Annunciation is a key topic in Christian art in general, as well as in Marian art in the Catholic Church, particularly during the Middle Ages and Renaissance. A work of art depicting the Annunciation is sometimes itself called an Annunciation.

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1870 Amand-Durand after Baccio Baldini Antique Print Ludovico Gonzaga III & Wife

1870 Amand-Durand after Baccio Baldini Antique Print Ludovico Gonzaga III & Wife

Description:
This fine, original antique Heliograph of Ludovico Gonzaga III and his Wife, Barbara of Brandenburg, by the Italian engraver Andrea Mantegna in the 15th century was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Andrea Mantegna 1431 – 1506 was an Italian painter, a student of Roman archeology, and son-in-law of Jacopo Bellini. Like other artists of the time, Mantegna experimented with perspective, e.g. by lowering the horizon in order to create a sense of greater monumentality. His flinty, metallic landscapes and somewhat stony figures give evidence of a fundamentally sculptural approach to painting. He also led a workshop that was the leading producer of prints in Venice before 1500.
Mantegna was no less eminent as an engraver, though his history in that respect is somewhat obscure, partly because he never signed or dated any of his plates, but for a single disputed instance of 1472. The account which has come down to us from Vasari (as usual keen to assert that everything flows from Florence) is that Mantegna began engraving in Rome, prompted by the engravings produced by the Florentine Baccio Baldini after Sandro Botticelli. This is now considered most unlikely as it would consign all the numerous and elaborate engravings made by Mantegna to the last sixteen or seventeen years of his life, which seems a scanty space for them, and besides the earlier engravings indicate an earlier period of his artistic style. He may have begun engraving while still in Padua, under the tuition of a distinguished goldsmith, Niccolò. He and his workshop engraved about thirty plates, according to the usual reckoning; large, full of figures, and highly studied. It is now considered either that he only engraved seven himself, or none. Another artist from the workshop who made several plates is usually identified as Giovanni Antonio da Brescia (aka Zoan Andrea).
Among the principal examples are: Battle of the Sea Monsters, Virgin and Child, a Bacchanal Festival, Hercules and Antaeus, Marine Gods, Judith with the Head of Holophernes, the Deposition from the Cross, the Entombment, the Resurrection, the Man of Sorrows, the Virgin in a Grotto, and several scenes from the Triumph of Julius Caesar after his paintings. Several of his engravings are supposed to be executed on some metal less hard than copper. The technique of himself and his followers is characterized by the strongly marked forms of the design, and by the parallel hatch marks to produce shadows. The closer the parallel marks, the darker the blacks were. The prints are frequently to be found in two states, or editions. In the first state the prints have been taken off with the roller, or even by handpressing, and they are weak in tint; in the second state the printing press has been used, and the ink is stronger.
Neither Mantegna or his workshop are now believed to have produced the so-called Mantegna Tarocchi cards.

Ludovico III Gonzaga of Mantua, also spelled Lodovico 1412 – 1478 was the ruler of the Italian city of Mantua from 1444 to his death in 1478.
Ludovico was the son of Gianfrancesco I Gonzaga and Paola Malatesta.
Ludovico followed the path of his father, Gianfrancesco, fighting as a condottiero from as early as 1432, when Gianfrancesco was vice-commander of Francesco Bussone\'s army. In 1433, he married Barbara of Brandenburg, niece of emperor Sigismund.
Starting from 1436 (perhaps without the approval of his father) he entered the service of the Visconti of the Duchy of Milan. The result was that Gianfrancesco exiled Ludovico from Mantua, together with his wife, naming Carlo Gonzaga as heir. However, in 1438 Gianfrancesco himself was hired by the Visconti, and reconciled with Ludovico in 1441. Ludovico succeeded to the marquisate of Mantua in 1444, although part of the family fiefs went to his brothers Carlo, Gianlucido and Alessandro. At the time, the Mantuan state was reduced in size and in poor conditions after years of war and large expenses.
From 1445 to 1450 Ludovico served as condottiero for Milan, Florence, Venice and Naples, switching his allegiance in order to grant the higher level of peace for his lands. In 1448 he took part in the battle of Caravaggio, and was forced to flee. In 1449 he entered the service of Venice in the league formed with Florence against Milan. In 1450 he received permission to lead an army for King Alfonso of Naples in Lombardy, with the intent of gaining some possessions for himself. However, Francesco Sforza, the new duke of Milan, enticed him with the promise of Lonato, Peschiera and Asola, formerly Mantuan territories but then part of Venice. Venice responded by sacking Castiglione delle Stiviere (1452) and hiring Ludovico\'s brother, Carlo.
On 14 June 1453 Ludovico routed the troops of Carlo at Goito, but Venetian troops under Niccolò Piccinino thwarted any attempt to regain Asola. The Peace of Lodi (1454) obliged Ludovico to give back all his conquests, and to renounce definitively his claim to the three cities. However, he obtained his brother\'s land after Carlos childless death in 1456.
The moment of highest prestige for Mantua was the Council, held in the city from 27 May 1459 to 19 January 1460, summoned by Pope Pius II to launch a crusade against the Ottoman Turks, who had conquered Constantinople some years earlier. However, the pope was not satisfied with the host city, writing: The place was marshy and unhealthy, and the heat burnt up everything; the wine was unpalatable and the food unpleasant. However, the council ended on a note of great personal prestige for Ludovico with the elevation of his son Francesco to the purple.
From 1466 Ludovico was more or less constantly at the service of the Sforza of Milan. He died in Goito in 1478, during a plague. He was buried in Mantua cathedral

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1725 Antique Print of Colly Molly Puff, Legendary 17th Century Pastryman, London

1725 Antique Print of Colly Molly Puff, Legendary 17th Century Pastryman, London

  • Title : Colly Molly Puff; Bonne Patisserie a Vendre; Torte e Pasticci
  • Date : ca 1725
  • Condition: (A+) Fine Condition
  • Ref:  20722
  • Size: 13in x 8in (330mm x 205mm) 

Description: 
This handsome, original antique Copper-Plate print of Colly Molly Puff - a famous street pastry seller of 17th century London - was published in the early 18th century. Beautifully engraved and printed onto laid 17th century hand made paper. (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: -
Colors used: - 
General color appearance: -  
Paper size: - 13in x 8in (330mm x 205mm)
Plate size: - 9 1/2in x 6 1/2in (240mm x 160mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning
Plate area: - Light age toning
Verso: - Light age toning

$149.00 USD
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1803 Mayer Large Antique Print of a Woman & Child of Karaman, Turkey

1803 Mayer Large Antique Print of a Woman & Child of Karaman, Turkey

Description: 

This large fine beautifully coloured original early antique aquatint of a woman and children of the ancient southern Turkish region of Caramania (Karaman) was engraved in 1803 - the date is engraved at the foot of the image - and was published in Luigi Mayer's "Views in Egypt, Palestine and Other Parts of the Ottoman Empire" R Bowyer, Historic Gallery Pall Mall.

This engraving is characteristic of those made during Regency period, a time of exploration of the Middle East spurred by Napoleon's explorations and conquests in Egypt. Often these expeditions were published as books, containing descriptions and illustrations of the ancient architecture, customs and culture of indigenous peoples.

Italian orientalist Luigi Mayer, active in the 18th and begin 19th century travelled extensively in the middle east. His work "Views in Egypt, Palestine and Other Parts of the Ottoman Empire" was published between 1801 and 1804 with historical observations, and incidental illustrations of the manners and customs of the natives of that country. During Mayer’s time, while Britain and France were vying for control of colonial territories, Views in Egypt captivated and informed audiences in Europe about the country’s prevailing culture and even political structures. "Mamalukes exercising in the Square of Muurad Bey’s Palace," for instance, provides a valuable visual record of the military elite’s training exercises, and perhaps a hint of the Ottoman ruler’s efforts to impose centralized authority. Such highly descriptive drawings continue to make the volume an invaluable primary source.

The aquatint engraver, Thomas Milton studied under William Woollett, and was extolled by scholar W. Bell Scott as having "a unique power of distinguishing the foliage of trees and the texture of bodies, especially water, as it never had been done before, and never will be done again." (Ref: Abbey, Travel, 369. Blackmer 1097. Colas 2018-2022. Gay 2145. Hiler, pp. 577-8. HBS 15571)

General Description:
Paper thickness and quality: - Haevy and stable
Paper color: - off white
Age of map color: - Early
Colors used: - Yellow, green, pink, orange
General color appearance: - Authentic
Paper size: - 18 1/2 in x 13in (460mm x 330mm)
Plate size: -  15 in x 12in (380mm x 305mm)
Margins: - Min 1in (25mm)  

Imperfections:
Margins: None
Plate area: None
Verso: None

$125.00 USD
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