‎Portraits‎

‎Poenitz, Karl Eduard (1795-1858):‎

‎Portrait. Brustfigur en face. Lithographie von Hanns Hanfstaengl. Unterrand mit Sinnspruch aus einem Buch von Poenitz.‎

‎Format (Bildbereich): ca. 220 x 200 mm. Blattgröße: 410 x 320 mm. *Poenitz war königlich sächsischer Hauptmann und Oberpostrath und einer der hervorragendsten Militärschriftsteller Deutschlands. - Der Lithograph Johann (Hanns) Hanfstaengl war ein jüngerer Bruder (1820-1885) von Franz Seraph Hanfstaengl, er betreute die Dresdner Niederlassung und Druckerei. - Außenrand gebräunt (durch ehemalige Rahmung), im Oberrand auch ein paar kleinere Braunfleckchen. Graphiken de‎

‎Poincaré, Raymond (1860-1934):‎

‎Französischer Politiker.‎

‎Paris, ROL, 1927. Photographie (Gruppenbild mit seinem Kabinett, Rechts neben ihm Aristide Briand). Format: 12,7 x 17,7 cm.‎

‎Mit einem aufgeklebten Papierschild am unteren Bildrand ("Mort de Mr. Poincaré. Mr. Poincaré photographié avec ses collaborateurs lors de l'Aniversaire de son ministère en 1927").‎

Riferimento per il libraio : 776AG

‎Poisson, Jeanne-Antoinette (1721-1766):‎

‎Portrait. Brustfigur en face. Stahlstich von Bernardi.‎

‎Format (Bildbereich): 170 x 95 mm. Blattgröße: 320 x 225 mm. *Jeanne-Antoinette Poisson, genannt Madame de Pompadour (1721-1764), war eine Mätresse des Ludwig XV. und wurde von ihm zur Gräfin von Pompadour ernannt. - Insgesamt gut erhalten. Graphiken de‎

‎Poklukar, Josef (1837-1891):‎

‎Portrait. Brustfigur nach halbrechts. Lithographie von Würbel, aus der seltenen Porträtfolge "Das Parlament".‎

‎Format (Bildbereich): 180 x 170 mm. Blattgröße: 405 x 295 mm. *Josef Poklkar (1837-1891) war ein slowenischer Jurist und Landtagsabgeortneter. - Leicht gebräunt, insgesamt gut erhalten. Graphiken de‎

‎Polidore CALDARA‎

‎Polidore CALDARA‎

‎Beau portrait. Beau tirage XVIIIè sur vergé. en feuille Très bon 17,5 x 12,5 cm‎

Riferimento per il libraio : 15607

‎Politianus, Angelius (1454-1494)‎

‎Humanist und Philosoph.‎

‎O.J. (um 1580). Holzschnitt (Brustbild in ornamentaler Umrahmung). Bildgrösse: 13,5 x 9,8 cm. Blattgrösse: 15,2 x 9,8 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, Abbildung‎

‎Unterer Blattrand mit kleiner Fehlstelle, Ecken mit Leimflecken, Ornamentrand beschnitten.‎

Riferimento per il libraio : 462CG

‎POLLACCHI, Paul‎

‎Atlas Colonial Français‎

‎1931 - reliure - Edité par L'Illustration - 1931 - Grand in-folio (40,5 x 34 cm), reliure demi-basane à coins, premier plat orné d'un décor géométrique polychrome et d'un titre doré, dos titré en lettres dorées - 318 pages - 56 cartes (la numérotation de la table va jusqu'à 40, certaines cartes étant numérotées bis ou ter) - Très riche iconographie - Titre complet : Atlas colonial Français. Colonies, Protectorats et pays sous mandat - Cartes et texte du Commandant P. Pollacchi - Préface du Maréchal Lyautey‎

‎Bon état - Menus frottements aux plats, au dos et aux mors - Coiffes et coins légèrement émoussés, coupes frottées - Intérieur propre‎

Riferimento per il libraio : 949

‎Polyander a Kerckhoven, Johannes (1568-1646)‎

‎Niederländischer reform. Theologe der Hoch-Orthodoxie.‎

‎O. J. (um 1680). Kupferstich (Brustbild mit ovaler Umrahmung). Bildgrösse: 122,5 x 9,5 cm. Blattgrösse: 18 x 14 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +‎

Riferimento per il libraio : 181BG

‎Pommer, Johann Jacob (1659-1717):‎

‎Portrait. Halbfigur in barockem Zieroval mit Vorhang. Kupferstich in Schabkunstmanier (Mezzotinto) von Bernhard Vogel (1683-1737) nach dem Gemälde von Georg Engelhard Schröter.‎

‎Plattengröße: 34,5 x 23,5 cm. Blattgröße: 37,5 x 26,5 cm. *Mortzfeld A 16777, Singer 73394, Diepenbroick 20056. - Johann Jacob Pommer war ein Kaufmann und Handelsherr in Venedig. - Rechts und links des Gesichts mit 2 kleinen kaum sichtbaren Retuschen. Graphiken de‎

‎Pont, Diana C. Du‎

‎Florence Henri : Artist Photographs of the Avant-Garde‎

‎A clean, unmarked book with a tight binding. 9 1/2"w x 12"h. 160 pages. Introduction by Diana C. Du Pont; foreword by John R. Lane. Chronology, bibliography, exhibition checklist.‎

‎Pontanus von Breitenberg, Georg Barthold (ca. 1550-1616):‎

‎Portrait. Brustfigur nach viertelrechts in Oval auf einem Sockel. Kupferstich von Balzer.‎

‎Format (Bildbereich): 19,5 x 9,5 cm. Mit ca. 0,5 cm breitem umlaufenden Rändchen. (Leicht gebräunt. Insgesamt ordentlich erhalten). *Georg Barthold Pontanus von Breitenberg war ein katholischer Theologe, Gelehrter und Dichter aus Böhmen. Graphiken de‎

‎PONTIUS Paul‎

‎Nicolas ROCKOX‎

‎Burin 262 x 182 Légende : Nicolas Rockox eques et consularisantu. rei antiquariæ cultor. Stet quicuno. volet potens aulæ culmineLbrico me duisis saturet quies Beau portrait d’après Van Dyck. Le Blanc II - 114. Beau papier vergé filigrané. En feuille Très bon 262 x 182‎

Riferimento per il libraio : 5713

‎PONTIUS Paulus (Anversa 1603 – 1658)‎

‎Albertus Miraeus Bruxellensis‎

‎Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1645.  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.‎

‎PONTIUS Paulus (Anversa 1603 – 1658)‎

‎Casperius Gevartius‎

‎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.‎

‎PONTIUS Paulus (Anversa 1603 – 1658)‎

‎Gaspar De Crayer‎

‎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.‎

‎PONTIUS Paulus (Anversa 1603 – 1658)‎

‎Henricus Van Baelen‎

‎Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1645.  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.‎

‎PONTIUS Paulus (Anversa 1603 – 1658)‎

‎Joannes Van Ravesteyn‎

‎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.‎

‎PONTIUS Paulus (Anversa 1603 – 1658)‎

‎Palamades Palamedessen‎

‎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.‎

‎PONTIUS Paulus (Anversa 1603 – 1658)‎

‎Theodorus Rombouts‎

‎Incisione tratta dalla celebre Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa nel 1645. 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 econ 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, 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.‎

‎Pope:‎

‎Alexander Pope (1688-1744, englischer Dichter, Übersetzer und Schriftsteller des Neoklassizismus). Porträt in Halbfigur nach einem Gemälde von Kneller. Originale Photogravüre (Heliogravüre).‎

‎Format Plattenrand:31 x 23,5 cm. (Blattgröße: 45,5 x 32,5 cm). Gedruckt auf kräftiges Büttenpapier mit Wasserzeichen "Van Gelder Zonen", unten mittig mit kleinem Blindprägestempel "Photographische Gesellschaft Berlin". *Die "Photographische Gesellschaft Berlin" war ein Kunstverlag, gegr. 1862 von Emil und Albert Werckmeister. Zunächst wurden klassische Kupferstiche in Photographie veröffentlicht und Reproduktionen direkt nach Ölgemälden. Gegen Ende des 19. Jahrh. leistete die Firma Hervorragendes in der Technik der Photogravüre. Galeriewerke und zahlreiche Einzelbilder wurden per Kataloge an Kunsthandlungen vertrieben. Die Photogravüre (auch Heliogravüre genannt), war ein fotografisches Edeldruckverfahren im Tiefdruck auf gelatinebeschichtete Kupferplatten (ein Vorläufer des späteren Kupfertiefdrucks). Als eine Weiterentwicklung des alten Aquatinta-Verfahrens schon in der ersten Hälfte des 19. Jahrh. begonnen, wurde es mit der Heliogravüre möglich, Fotos und Illustrationen durch ein aufwendiges fotomechanisches Druckverfahren so zu reproduzieren, dass sich echte und sehr differenzierte Halbtöne darstellen und eine ausdrucksstarke plastische Tiefenwirkung des Bildes erzeugen lassen. Mit den technischen Verbesserungen gegen Ende des 19. Jahrh. wurde die Heliogravüre das beherrschende graphische Verfahren insbesondere für anspruchsvolle und künstlerische Photographie und andere Bildvorlagen. - Vollrandiges Blatt in sehr guter Erhaltung. Graphiken de‎

‎Porter, John R.‎

‎Joseph Légaré 1795-1855. L'oeuvre‎

‎Galerie nationale du Canada Jaquette en état satisfaisant Couverture rigide Ottawa 1978‎

‎Très bon In-4. 157 pages. Petites déchirures à la jaquette, sans perte de papier. Catalogue raisonné.‎

Riferimento per il libraio : 41430

‎Portrait‎

‎Heinrich George in den Filmen "Metropolis" und "Heimat".‎

‎Ca. 1950 (?). 18 x 12 cm.‎

‎Rückseite als Notizzettel benutzt, wahrscheinlich eng beschnitten. Siehe Photo.‎

Riferimento per il libraio : 27748

‎Portrait-Originalphotographien. Carte de Visite‎

‎Fotografien weiblicher Portraits. Sammlung mit 19 Photografien. Enthalten sind 8 Brustportraits weiblich, 11 Ganzkörperportraits weiblich - teils sitzend, teils stehend.‎

‎Berliner Photoateliers: Globus Atelier Oranien-Straße 52-55 / 4x Paul Müller Inh. Paul Matthes Blücherstraße 6 / G. Steffens Anhalt-Straße 2 / Hermann Böbers Rixdorf Saalestraße 1 am Flugbahnhof / 3x Hugo Strube & Co Prinzessinnenstraße 16 / 6x A. Ja Originalphotografien auf hartem Karton teils mit Namensprägungen der Fotoateliers in schwarz, weiß oder gold. Größen meist 10,5 cm x 6,5 cm , vier abweichend 16,5 x 10 cm.Durchweg etwas verblichen, teils auch beschabt-dennoch gut erhalten.‎

‎Enthalten sind 8 Brustportraits weiblich, 11 Ganzkörperportraits weiblich-teils sitzend, teils stehend, mit Intereur. Interessant in puncto Mode, Schmuck, Frisur, Genre. Die Sammlung zeigt die Gesellschaft Ende des 19. Jhd., auf den aufwendig gestalteten Karten finden sich, teils vorn, teils rückseitig, eine Vielzahl von (Hof)- Fotografen der frühen Berliner Portraitfotografie- wie aufgeführt. Albuminabzüge auf O-Kartons. K04499-502010‎

Riferimento per il libraio : 502010

‎PORTRAITS‎

‎PASSION HERENS / FRANCAIS ALLEMAND ANGL‎

‎ALPAGA EDITIONS‎

‎LIVRE A L’ETAT DE NEUF. EXPEDIE SOUS 3 JOURS OUVRES. NUMERO DE SUIVI COMMUNIQUE AVANT ENVOI, EMBALLAGE RENFORCE. EAN:9782970084112‎

Riferimento per il libraio : SLIVCN-9782970084112

‎Portraits‎

‎Portraits of Mothers by the Author of the Happy Family‎

‎hardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover‎

Riferimento per il libraio : 1358759286.G ISBN : 1358759286 9781358759284