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Daniel von Szamos-Ujvar und Nemethy, Paul (geb. 1822):
Portrait. Brustfigur nach halbrechts. Lithographie von Würbel, aus der seltenen Porträtfolge "Das Parlament".
Format (Bildbereich): 185 x 180 mm. Blattgröße: 405 x 295 mm. *Paul Daniel von Szamos-Ujvar und Nementhy (geb. 1822) war ein österreichischer Reichstagsabgeordneter (Zichyfalvaer Bezirk). - Leicht gebräunt, insgesamt gut erhalten. Graphiken de
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Daniel, Thomas; Ted Potter; John Yau
Thomas Daniel: Into My Eyes
A clean, unmarked book with a tight binding. Cover shows slight wear. 10"w x 9"h. 96 pages. Black and white photos.
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DANIELL (Walter V.) Compiler.
A Catalogue of Engraved Portraits of Celebrated Personages, Chiefly Connected with the History and Literature of Great Britain...
First Edition, [4],245,[1]pp., frontis., 6 engraved plates, orig. embossed cloth, 14,131 items.
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Dannecker, Johann Heinrich von (1758- 1841):
Portrait. Brustfigur. Stahlstich von Ed. Schuler nach Wölfle/Leybold.
Blattgröße: 22,5 x 16,5 cm. *Johann Heinrich Dannecker, ab 1808 von Dannecker, (geb. 16. Oktober 1758 in Stuttgart; gest. 8. Dezember 1841 ebenda) war ein bedeutender Bildhauer des Klassizismus. Graphiken de
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Dannhauer, Johann Konrad ( 1603 in Köndringen und lutherischer Theologe
Portrait. Brustbild im Schriftoval. Kupferstich von Melchior Haffner, um 1650. 10,2 x 8,8 cm.
o.J. Hardcover
書籍販売業者の参照番号
: 9498
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Dante Alighieri (1265-1321):
Portrait. Brustbild nach halbrechts in Oval. Kupferstich von Garavaglia nach Bossi.
Format (Bildbereich): 170 x 130 mm. Blattgröße: 310 x 230 mm. *Dante Alighieri (1265-1321) war ein italienischer Dichter und Philosoph. - Insgesamt gut erhalten. Graphiken de
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Danton, Georges Jacques (1759-1794):
Portrait. Brustfigur in Medaillon (12,5 cm), gestochen in Aquatinta von Levachez. Darunter eine breite historische Szene zu dieser Person (4,5 x 14 cm) von Duplessi Bertaux in Radierung. In der unteren Hälfte mit Bezeichnung und Text zur Darstellung, eingraviert in Kupferstich.
Blattgröße: 375 x 225 mm (bis an die äußere Einfassungslinie beschnitten). *Bildnis des Georges Jacques Danton (geb. 1759 in Arcis-sur-Aube; gest. 1794 in Paris), er war einer der Führer der Französischen Revolution, Leiter des ersten Wohlfahrtsausschusses und verfügte über ein großes Redetalent. Er setzte sich 1794 für ein Ende der "Terreurs" ein und wurde daraufhin von Robespierre gestürzt und zusammen mit einigen seiner Anhänger guillotiniert. - Aus dem Ergänzungsband der bedeutenden Kupferstichfolge "Collection complete des Tableaux Historiques de la Revolution Francaise", hier aus einem Exemplar der ersten Ausgabe, in welcher 60 Portraits in Gr.-Folio auf Velin ab "an 7" (= 1798) in Lieferungen erschienen. Das Medaillon-Portrait von Charles Francois G. Levachez (1760-1820) in Aquatinta oder Schabkunst, die historischen Szenen in Radierung von Jean Duplessi-Bertaux (1750-1818), der im Begleittext des Werkes als "le Callot de nos jours" bezeichnet wird. - Außenränder beschnitten bis auf die äußere Einfassungslinie, sonst gut erhalten. Graphiken de
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Danton, Georges Jacques (1759-1794):
Porträt. Brustfigur. Lithographie von H. Grevedon.
Blattgröße ca. 50 x 33 cm - Bildgröße ca. 24 x 23 cm. *Georges Jacques Danton (geb, 26. Oktober 1759 in Arcis-sur-Aube, Département Aube; gest. 5. April 1794 in Paris) war einer der Führer der unteren Volksschichten in der Französischen Revolution und Leiter des ersten Wohlfahrtsausschusses. Am 30. März 1794 wurde Danton verhaftet, nach kurzem Prozess vor dem Revolutionstribunal als vermeintlicher Revolutionsgegner verurteilt und am 5. April mit 13 seiner Anhänger (Dantonisten) guillotiniert. - Großes vollrandiges Bildnis, sauber und sehr gut erhalten. Graphiken fr
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Danton, Georges Jaques (1759 - 1794)
Französicher Revolutinär.
Paris. Kupferstich. Bildformat: 21 x 13 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +
書籍販売業者の参照番号
: 565CG
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DANZER, Alphons
Maria Theresia. Festschrift zur Enthüllung des Monumentes.
Wien, Bergmann (1888). 2°. 8 S. u. 4 Abb. im Text. Mit 4 farblith. Taf. OKart. Mit farb. Einbandillustr. - (Gratisbeilage des 'Wiener Tagblatt') [2 Warenabbildungen]
書籍販売業者の参照番号
: 1172-20
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DARCY, Paul.
Bâh-Miang, Le Tigre du Laos.
sd Editions A. Fayard, collection "L'Aventure", N° 2 - Sans date - In-4, broché couverture illustrée - 63 pages
書籍販売業者の参照番号
: 72464
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Dargen, Philippe
CEZANNE
Flammarion, coll. « Tout l’Art Monographie » 1995 In-8, broche, 173 pp., illustrations noir et couleurs.
書籍販売業者の参照番号
: 36875 ISBN : 208012269
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DARBOY G. (Mgr) Nouvelle édition avec collection de portraits de femmes célèbres de l'ancien et du nouveau testament gravés d'après les dessins de G. Staal.
Les femmes de la bible. Tome 2 seul.
Couverture rigide. Reliure demi-chagrin à nerfs, tranche dorée. 342 pages. Rousseurs.
書籍販売業者の参照番号
: 47417
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Darbyshire, Taylor
König Georg VI : Eine wahrheitsgetreue Darst. d. privaten u. öffentl. Lebens d. Königs ; Erstmalig veröffentlicht mit Zustimmg S. M., als er noch Herzog v. York war. Taylor Darbyshire. [Aus d. Engl. übers. v. Annelise u. Irmgard Wetzel
Berlin : Siegismund 1937. 192 S. : mehr. Taf. ; 8°, ohne Schutzumschlag Lw., gebundene Ausgabe, Leinen, Schnitt stockfleckig, Seiten alters- und papierbedingt gebräunt, sonst guter Zustand
書籍販売業者の参照番号
: 56915
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Darton, William (Hrsg.)
A Cabinet of Portraits consisting of Distinguished Characters, British and Foreign. Accompanied with a Brief Memoir of Each Person.
London, Verlag: William Darton, 1823. Sprache : Englisch. 40 und 64 Portraits auf Tafeln. 8°, Halbleder mit Goldprägung auf Rücken.
書籍販売業者の参照番号
: 30405
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Dassier, Alfred
Komponist.
Paris, o.J. (um 1880). Lithographie von P. Maurou bei J. Thierry (Brustbild). Bildgrösse: 10 x 8,5 cm. Blattgrösse: 20,9 x 14,5 cm.
書籍販売業者の参照番号
: 332CG
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Dase, Johann Martin Zacharias (1824-1861):
Portrait. Brustfigur nach links, Gesicht en face. Lithographie von A.G. Schütz.
Bildgröße 160 x 140 mm. Blattgröße: 390 x 300 mm. *Johann Martin Zacharias Dase (geb. 23. Juni 1824 in Hamburg; gest. 11. September 1861 ebenda) war ein deutscher Schnellrechner und Rechenkünstler. Auch heute kennen wir solche außergewöhnliche Begabungen, oft gepaart mit einer Form von Autismus (wofür es auch in diesem Falle Anzeichen gab). - Dase wurde seinerzeit sehr bekannt, seit 1839 trat er in Deutschland, Österreich und England als Rechenkünstler auf. So ist bekannt, dass er z.B. in Wien eine 40ziffrige Zahl mit einer anderen 40ziffrigen in 40 Minuten, in Wiesbaden eine 60ziffrige mit einer anderen 60ziffrigen in ca. 3 Stunden im Kopf multiplizierte, während er gleichzeitig die Zuschauer angeregt unterhalten hat. wie oft in solchen Fällen hatte auch Dase trotz Unterricht wenig Wissen über mathematische Theorie, seine Fähigkeit war intuitiv. Er stand auch in Kontakt zu Carl Friedrich Gauß. - Dase war eine öffentliche Berühmtheit, es gab von ihm mehrere graphische Bildnisse, Diepenbroick kennt drei (vorliegendes nicht). - Hier ein recht seltenes frühes Bildnis von ihm (nur ein einziger Nachweis gefunden im Bildarchiv Austria). - Leichte Querfalte, etwas angestaubt. Graphiken de
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Dassier, Alfred
Komponist.
Paris, o.J. (um 1880). Lithographie von P. Maurou bei J. Thierry (Brustbild). Bildgrösse: 10 x 8,5 cm. Blattgrösse: 20,9 x 14,5 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +
書籍販売業者の参照番号
: 332CG
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Dater, Judy
Imogen Cunningham: A Portrait
Boston, New York Graphic Society, 1979. Leinen, etwas gr. DinA 4, 126+60 Seiten, zuvor Textband mit vielen sw-Photos (120 Duotone-illustrations), danach reiner Bildband mit meist s/w-Porträt-Fotos, s/w-bebilderter Originalumschlag / Schutzumschlag / OU (randgebräunt, geringe Gebrauchsspuren), Einband mit minimalen Gebrauchsspuren, Seiten minimal randgebräunt, abgesehen vom Umschlag (sehr) gut erhalten / (sehr) guter Zustand [5 Warenabbildungen]
書籍販売業者の参照番号
: p289g
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Daum, Gottfried Adolph (1679-1743):
Porträt in fast voller Gestalt sitzend, Unterrand mit Bezeichnung. Kupferstich von Ant. Bal. König.
Bildformat: 338 x 272 mm (mit kleinem Rand). *Daum stammte aus einer sächsischen Advokatenfamilie, er gründete 1712 zus. mit Splitgerber das Bank- und Handelshaus Splitgerber & Daum. Sie waren bald Preußens größter Waffen- und Munitionslieferant, das Unternehmen wuchs zu einem konzernartigen Großunternehmen, das eine weit über Berlin hinausragende Bedeutung erlangte. 1725/26 schloss sich der Konzern mit 14 anderen Berliner Firmen zur "Russischen Handels-Compagnie" zusammen. Die Firma belieferte Preussen wie auch Russland und war um 1740 zum größten Waffenproduzenten des Staates geworden. Das Bank- und Handelshaus wurde nach dem Tod der beiden Gründer von den Gebr. Schickler übernommen und als „Bankhaus der Könige“ berühmt. 1910 fusionierte das Bankhaus mit der Bank „Delbrück Leo & Co“. Sie blieb eine der ältesten dt. Privatbanken bis sie 2002 von der Niederländischen Staatsbank ABN AMRO N.V. übernommen wurde. - Am Unterrand leicht gebräunt, insgesamt gut erhalten. Graphiken de
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Daun Leopold Joseph von. .
PORTRAIT Leopold Joseph Graf von Daun. 1705 Wien - 1766 ebda. österreichischer Feldmarschall. Schulterstück im Dreiviertelprofil. Stahlstich.
Ca. 1845. . Miniatur-Porträt. - Leopold Joseph Graf von Daun Fürst von Thiano war ein kaiserlicher österreichischer Feldherr im Siebenjährigen Krieg in dem er u.a. Friedrich dem Großen die siegreiche Schlacht von Kolin 18. Juni 1757 lieferte. [Ca. 1845]. unknown
書籍販売業者の参照番号
: 60869
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Daun, Leopold Joseph von
PORTRAIT Leopold Joseph Graf von Daun. (1705 Wien - 1766 ebda., österreichischer Feldmarschall). Schulterstück im Dreiviertelprofil. Stahlstich.
[Ca. 1845]. 4 x 4 cm. Blattgröße 5 x 4,5 cm. Feinkartonpassepartout.
書籍販売業者の参照番号
: 60869
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David Bailey's
BAILEY'S DEMOCRACY
2005 / Editions Steidl
書籍販売業者の参照番号
: ART035M
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David, Johann Nepomuk (1895-1977):
Österreichischer Komponist.
Leipzig, Breitkopf & Härtel, (um 1930). Photographie (Portrait) von E. Hoenisch. Format: Postkarte.
書籍販売業者の参照番号
: 107AG
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David, Jacques Louis (1750-1825):
Porträt. Brustfigur. Lithographie von Monaerfeml (?).
Blattgröße ca. 50 x 33 cm - Bildgröße ca. 23 x 20 cm. *Jacques-Louis David (geb. 30. August 1748 in Paris; gest. 29. Dezember 1825 in Brüssel) war ein bedeutender französischer Historienmaler des Klassizismus. - Großes vollrandiges Bildnis, Minimal Braunfleckchen, insgesamt sehr gut erhalten. Graphiken fr
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David, Jacques-Louis (1748-1825):
Portrait. Bildnis in Brustfigur. Getönte Lithographie von Heinrich Joseph Hesse.
Size (image): 264 x 240 mm. Sheet: 500 x 330 mm. Gedruckt auf Velin. *Jacques-Louis David (geb. 30. August 1748 in Paris; gest. 29. Dezember 1825 in Brüssel) war ein französischer Historienmaler des Klassizismus. - Frühe Lithographie, Abzug vor der Schrift. Außenränder etwas gebräunt, insgesamt gut erhalten. Graphiken de
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David, Johann Nepomuk (1895-1977)
Österreichischer Komponist.
Leipzig, Breitkopf & Härtel, (um 1930). Photographie (Portrait) von E. Hoenisch. Format: Postkarte. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +
書籍販売業者の参照番号
: 107AG
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Davies, Chalkie
Pointed Portraits
A clean, unmarked book with a tight binding. Black and white photos, many of musicians and celebrities by Chalkie Davies. Unpaginated. 8"w x 9 7/8"h.
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Davis Jefferson Finis. .
PORTRAIT Jefferson Davis. 1808 Fairview - 1889 New Orleans Politiker. Brustbild im Halbprofil. Stahlstich von Wegner nach einer Photographie von Brady.
Leipzig Baumgaertner's Buchhandlung ca. 1860. . Davis war 1861 bis 1865 Präsident der Konföderierten Staaten von Amerika u. Führer der Südstaaten im Sezessionskrieg. - Schwach stockfleckig / angestaubt Leipzig, Baumgaertner's Buchhandlung, [ca. 1860]. unknown
書籍販売業者の参照番号
: 57675
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DAVIS MAC BIOGRAPHICAL SKTCHES; CLARIDGE E. E. PORTRAITS
From Moses To Einstein: They Are All Jews
Hebrew Publishing Company New York: 1951. Hardcover no dustjacket. Reading copy. Gift inscription appears on front endpaper. Meet sixty Jeweish men and women: soldier statesman explorer scholar pugilist poet scientist rabbi actress businessman. In this collection of heroes and heroines you will find melodrama ambition power courage lov despair poverty and all th influences that make greatness. Hebrew Publishing Company, New York: 1951 hardcover
書籍販売業者の参照番号
: 20109X1
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Davis Mac; Portraits E. E. Claridge
THEY ALL ARE JEWS
New York: Jordan Publishing Co. 1951. Revised Edition. Hardcover. Very Good- in a Good dust jacket. Chips tears and to jacket. Minor foxing and discoloration. Owner writing to FEP and front pastedown. Boards bowed. ; 8vo 8" - 9" tall; Original unclipped dust jacket protected by archival Brodart cover. All domestic orders shipped protected in a Box. . Jordan Publishing Co. hardcover
書籍販売業者の参照番号
: 56829
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Davis, Jefferson Finis
PORTRAIT Jefferson Davis. (1808 Fairview - 1889 New Orleans, Politiker). Brustbild im Halbprofil. Stahlstich von Wegner nach einer Photographie von Brady.
Leipzig, Baumgaertner's Buchhandlung, [ca. 1860]. 14 x 11 cm. (Blattgröße ca. 23 x 12 cm). Unter Feinkartonpassepartout mit Farblinieneinfassung.
書籍販売業者の参照番号
: 57675
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Davoust Louis Nicolas.
PORTRAIT Louis-Nicolas Davoust. 1770 Annoux Burgund - 1823 Paris französischer General Pair und Marschall. Schulterstück en face. Stahlstich.
Ca 1845. . Miniatur-Porträt. - Louis-Nicolas d'Avoűt genannt Davoűt in älteren deutschen Texten auch Davoust geschrieben duc d'Auerstedt prince d'Eckmühl et de l'Empire gilt als einer der besten Generale Napoleons. Wegen seiner Strenge u. Disziplin erhielt er den Beinamen "der eiserne Marschall". 1811-1814 war er Generalgouverneur des "Département des Bouches de l'Elbe".1813 rückte er mit seinen Truppen in Hamburg ein und legte der Stadt "zur Strafe für ihren Abfall von Frankreich" eine hohe Geldbuße auf die er mit erbarmungsloser Strenge eintrieb. Gegen Ende des Jahres ließ er mehr als 20.000 Menschen aus der Stadt treiben u. die Wohnungen von mehr als 8.000 niederbrennen nachdem er schon vorher mehrere Unruhestifter mit dem Tod bestraft hatte; daher nannte man ihn den "Robespierre von Hamburg". [Ca 1845]. unknown
書籍販売業者の参照番号
: 61041
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Davy Humphry.
PORTRAIT Humphry Davy. 1778 in Penzance Cornwall - 1829 Genf britischer Chemiker. Schulterstück en face. Stahlstich.
Ca 1850. . Miniatur-Porträt. - Sir Humphry Davy wirkte 1802-1812 als Professor für Chemie an der Royal Institution in London. Durch Elektrolyse geschmolzener Alkalien gelang es ihm erstmals die Elemente Natrium Kalium Barium Strontium Calcium und Magnesium darzustellen. Er gehört damit zu den Wegbereitern der modernen Elektrochemie. - Gebräunt [Ca 1850]. unknown
書籍販売業者の参照番号
: 60926
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Davy, Humphry
PORTRAIT Humphry Davy. (1778 in Penzance, Cornwall - 1829 Genf, britischer Chemiker). Schulterstück en face. Stahlstich.
[Ca 1850]. 4 x 4 cm. Blattmaß 5 x 4,5 cm. Feinkartonpassepartout.
書籍販売業者の参照番号
: 60926
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Dawison, Bogumil (1818 - 1872):
Porträt. Brustfigur nach halbrechts in getöntem Oval. Holzschnitt von Eduard Kretschmar, unten mit faksimlierter Signatur.
Bildgröße (Oval): 220 x 178 mm. (Blattgröße: 345 x 255 mm). *Bogumil Dawison (geb. 15. Mai 1818 in Warschau; gest. am 1. Februar 1872 in Dresden) war ein polnisch-deutscher Schauspieler, insbesondere ein bedeutender Charakterschauspieler (Shylock, Mephisto, Franz Moor). Seine Laufbahn begann 1837 in Warschau. Über Lemberg und das Hamburger Thalia-Theater kam er 1849 an das Wiener Burgtheater, wo er bei Laube das Charakterfach vervollkommnete. Sein egozentrisches Verhalten führte zum Zerwürfnis sowohl mit Laube in Wien als auch später in Dresden. Gastspiele führten ihn bis nach Amerika. - Das vorliegende Bildnis erschien als Kunst-Beilage zu Auers Zeitschrift "Faust" 1857). - Sauber und sehr gut erhalten. Graphiken de
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Dawison, Bogumil (1818 - 1872):
Porträt. Dreiviertelfigur, sitzend. Lithographie von Kriehuber, gedruckt bei Höfelich. Unten mit Signaturfaksimile.
Bildgröße: 300 x 270 mm (Blattgröße: 415 x 290 mm). Montiert auf Untersatzpapier, Ränder gebräunt und etwas fleckig. *Bogumil Dawison (* 15. Mai 1818 in Warschau; † 1. Februar 1872 in Dresden) war ein polnisch-deutscher Schauspieler, insbesondere ein bedeutender Charakterschauspieler (Shylock, Mephisto, Franz Moor). Seine Laufbahn begann 1837 in Warschau. Über Lemberg und das Hamburger Thalia-Theater kam er 1849 an das Burgtheater, wo er bei Laube das Charakterfach vervollkommnete. Sein egozentrisches Verhalten führte zum Zerwürfnis sowohl mit Laube in Wien als auch später in Dresden. Gastspiele führten ihn bis nach Amerika. - Wurzbach 3, S. 180ff; ADB 4, 787–789. Graphiken de
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Dazzi, Andrea (1475-1548):
Porträt. Brustfigur von halblinks, an einem Tisch sitzend, Augen geschlossen. Kupferstich von Allegrini nach Giuliano Iraballesi.
Plattengröße: 300 x 200 mm (und kleiner Rand). *Dazzi (aus Florenz) war Professor für Griechisch, er veröffentlichte mehrere Bücher. - Gut erhalten. Graphiken de
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DE GEEST (Joost) - LECHIEN-DURANT (Françoise) - SOMERS (Marc) - VAN DOORNE (Veerle) - VAN DE WOESTIJNE (Karel)
Gustave Van De Woestyne 1881-1947
Snoeck-Ducaju & Zoon, Pandora, coll. « Monographies de l’Art Moderne » 1997 In-4, pleine toile verte, sous jaquette illustrée, photographies en noir et en couleurs, 197 pp. Très bon état d’occasion, jaquette lernie.
書籍販売業者の参照番号
: 20549
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DE CASTELLANE (Marquis)
Les hommes d'Etat français du XIXème siècle. Talleyrand, Falloux, Thiers, Rouher, Gambetta.
1888 Editions Nouvelle Revue, Paris, Collection "Essai de psychologie politique" - 1888 - In-8, broché - 442 p.
書籍販売業者の参照番号
: 113703
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DE LESCURE.
Les Autographes et le goût des autographes en France et à l'étranger. Portraits, caractères, anecdotes, curiosités.
J. Gay, Editeur, 1865, 1 volume de 15.5x24 cm environ, xii-344 pages, reliure demi basane rouge à coins, dos à 5 nerfs soulignés de filets dorés, orné d'un titre et fleurons dorés, tranche de tête dorée, gardes de couleurs. Légers frottements sur le cuir, bon état.
書籍販売業者の参照番号
: 104601
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DE BEAUCHESNE, M. A.
Louis XVII. Sa vie, son agonie, sa mort. Captivité de la famille royale au temple. Septième édition enrichie d'autographes, de portraits et de plans et précédée d'une lettre de Mgr Dupanloup. Tome premier. (1 volume)
1868 A Paris, Henri Plon, imprimeur-éditeur - 1868 - In-12, broché, plats cartonnés - 571 p. - Gravures hors texte en N&B, dont quelques dépliants
書籍販売業者の参照番号
: 118609
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DE BODT, Saskia & JOOS, Erwin;
PORTRAITS DE FEMMES. EUGEEN VAN MIEGHEM ( 1875 - 1930 ), CONTEMPORAINS ET MAITRES ANCIENS,
, Anvers, BAI, 2006, Relie, couverture carton illustree, frontispice en couleur, 230 x 225mm., 119pp., illustration profonde et magnifique en couleurs.
書籍販売業者の参照番号
: 18439
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DE BODT, Saskia & JOOS, Erwin;
VROUWENPORTRETTEN. EUGEEN VAN MIEGHEM ( 1875 - 1930 ), CONTEMPORAINS ET MAITRES ANCIENS,
Antwerpen, BAI, 2006, 2006 Hardback, 220x230mm, 118pp., ISBN 9085860253.
書籍販売業者の参照番号
: 24231
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De JODE Pieter (1572/3-1634)
Adam De Coster
Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare”, con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked. Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.
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De JODE Pieter (1572/3-1634)
Adriaen de Noel
Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare” con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked. Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.
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De JODE Pieter (1572/3-1634)
Albert. Dux. Fritland…
Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare”, con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked. Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.
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De JODE Pieter (1572/3-1634)
Antonius Triest
Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare”, con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked. Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.
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De JODE Pieter (1572/3-1634)
Henricus Liberti
Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare”, con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked. Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.
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De JODE Pieter (1572/3-1634)
Iohannes Snellincx
Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare”, con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked. Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.
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