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VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)
Antonius Cornelissen
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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VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)
Cornelis de Vos
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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VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)
Cornelis Sachtleven
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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VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)
Deodatus Del Montantu
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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VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)
Jacobus De Cachopin
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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VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)
Jan Lievens
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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VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)
Johannes van Mildert
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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VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)
Lucas van Uden
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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VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)
Nicolaus Fabricius De Peirese
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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VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)
Peter Stevens
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. Etchings with engraving, printed on contemporary laid paper, “jester” watermark with margins, in excellent condition.From the famous Icones principium, virorum, doctorum, pictorum, chalcographorum, by Anton van Dyck, printed for the first time in Antwerp around 1640. 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. The artist realized many paintings and drawings with these portraits, which he then decided to publish commissioning the engraving part to the best artists of his time, such as Bolswert, Pontius, Vorsterman, de Jode, Hollar, who had also been his schoolfellows in Rubens’ workshop.
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VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)
Theodor Galle
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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Vouillemont, Sébastien (um 1610 Bar-sur-Aube - 1652 Paris?)
Portrait Francois Barberini. Kupferstich nach Nicolai Pucci.
In der Platte monogrammiert. 19,5 x 14 cm.
Référence libraire : 71153
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VOX Maximilien 150 portraits et 300 notes marginales.
Conversations avec Bonaparte.
Couverture rigide. Reliure toile de l'éditeur. 312 pages. Rhodoïd.
Référence libraire : 129420
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VOYAGE AU CANADA Avec 18 dessins et portraits de Georges Leroux.
Voyage au Canada : La mission Jacques Cartier.
Couverture souple. Broché. 74 pages. Rousseurs à la couverture. 22, 5 x 28, 5 cm.
Référence libraire : 23863
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Voyer de Paulmy d`Argenson, Marc-René (1771-1842):
Porträt. Brustfigur en face. Lithographie von Grenier.
Format (Bildbereich): 138 x 108 mm. Blattgröße: 260 x 195 mm. *Marc-René de Voyer von Paulmy d`Argenson (1771–1842) war ein französischer Politiker. - Gut erhalten. Graphiken de
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Voysin de La Noiraye, Daniel (1655-1717):
Portrait. Brustbild nach viertelrechts in ovalem Schriftmedaillon. Kupferstich von Nicolas Pitau I (1632-1671) nach einem Gemälde von Pierre I Mignard (1612-1695).
Format (Platte): 46 x 35 cm (bis nahe an den Bildrand beschnitten). *Großformatiges seltenes Bildnis. - Der Dargestellte Daniel Voysin de La Noiraye (1655–1717) war ein französischer Adliger und Politiker. Er war Greffier des ordre du Saint-Esprit , Kanzler von Frankreich vom 2. Juli 1714 bis 2. Februar 1717 und Kriegsstaatssekretär vom 9. Juni 1709 bis 14. September 1715 in der Regierung Ludwigs XIV. Der Kupferstecher Nicolas Pitau oder Pittou der Ältere (13. Mai 1632 – 11. Februar 1671) war ein in Flandern geborener französischer Kupferstecher und Grafiker. - Mittig zwei querverlaufende Faltspuren, sonst gut erhalten.. Graphiken fr
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Vrancx, Sebastian (1573 - 1647):
Halbfigur nach links. Radierung von Schelte Bolswert nach dem Gemälde des Anthonis van Dyck. Unten mit Inschrift: "Sebastianus Vrancx Pictor Praeliorum minorum ...".
Format (Platte): 242 x 163 mm. Blattgröße: 375 x 235 mm. *Blatt aus der berühmten "Iconographia" oder Iconographie, einer Sammelausgabe von ca. 100 der gemalten Bildnisse des Anthonis van Dyck (1599-1641) in Kupferstich. - Wibiral 25, IV. - Vrancx war ein flämischer Schlachten- und Genremaler. Er war ein hochproduktiver Künstler, in den bekannten Museen und Galerien Europas sind zahlreiche Werke von seiner Hand vorhanden. Besonders bekannt wurde Vrancx durch seine Schlachtendarstellungen, überhaupt gilt er als der Erfinder der Schlachtenmalerei in den Niederlanden und als Begründer des flämischen Militärgenres. - Leichte Quetschfalte am rechten Unterrand, minimal gebräunt, insgesamt gut erhalten. Graphiken de
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Vézina, Raymond
Théophile Hamel. Tome 1 : Peintre national (1817-1870). Tome 2 : Catalogue des oeuvres de Théophile Hamel. 2 Volumes
Éditions Élysée In-4 Jaquette en très bon état Couverture rigide toile Montréal 1975
Référence libraire : 14379
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Vézina, Raymond
Théophile Hamel. Tome 1 : Peintre national (1817-1870)
Éditions Élysée In-4 Jaquette en état satisfaisant Couverture rigide toile Montréal 1975
Référence libraire : 17193
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W. K. [Monogrammist, ligiert]
Altmeisterliche bäuerliche Landschaftsdarstellung. Mit Bleistift gehöhte Heliogravüre auf getöntem Zeichenkarton.
Ohne Jahr. Bildgröße 23,5 x 31,5 cm. Unter zweifachem Passepartout.
Référence libraire : 88882
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Waddilove, Robert Darley (1762-1828):
Portrait, Brustfigur. Mezzotinto von W. Ward nach George Marshall.
Size: 31 x 22 cm (trimed to the image and mounted on old paper). *Robert Darley Waddilove (born Robert Darley; known after 1762 as Darley Waddilove; November 1736 – 18 August 1828) was Dean of Ripon. Graphiken en
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Wagner Johann Ernst. .
PORTRAIT Ernst Wagner. 1769 Roßdorf - 1812 Meiningen Schriftsteller. Brustbild. Kupferstich.
Ca. 1820. . Vielgelesener Romanschriftsteller seiner Zeit; seit 1802 Kabinettssekretär des Herzogs von Meiningen Aufseher der herzoglichen Bibliothek sowie Dramaturg u. Regisseur am Laien-Theater. - Knapp beschnitten Ränder mäßig stockfleckig [Ca. 1820]. unknown
Référence libraire : 57566
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Wagner, Michael Johann (1788-1842:
Portrait. Halbfigur sitzend. Lithographie von Eybl.
Format (Bildbereich): 28,5 x 24 cm. Blattgröße: 32,5 x 24 cm. *Michael Johann Wagner (1788-1842) war ein österreichischer Geistlicher, er wurde 1833 zum Bischof von Belgrad und 1835 zum Bischof von St. Pölten ernannt. - Die 4 Ecken beschnitten auf eine Achteckform. Graphiken de
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Wagner, Paul (1617-1697):
Porträt. Brustporträt en face in Oval, mit reicher barocker Verzierung und einigen Inletbildern. Oben und unten mit Schrift. Kupferstich von J.C. Höckner und Chr. Rumstet nach Chr. Spetner.
Bildformat (Plattengröße): 292 x 220 mm (mit Rand). *Paul Wagner (* 23. Januar 1617 in Leipzig; † 11. April 1697 ebenda) war ein kursächsischer Jurist und zwischen 1663 und 1696 insgesamt zwölfmal Bürgermeister der Stadt Leipzig. - Rückseite mit ein paar alten Braunflecken (nicht auf die Vorderseite durchschlagend), insgesamt gut erhalten. Graphiken de
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Wagner, Peter Paul Vincenz (1782-1851):
Portrait. Brustfigur en face in Uniform. Lithographie von Eybel.
Format (Bildformat): 210 x 190 mm. Blattgröße: 420 x 290 mm. *Wagner war ein Mediziner in Wien. Doktor der Medizin und Chirurgie, Professor der Gerichtsmedizin und Staatsarznei in Wien. - Sauber und sehr gut erhalten. Graphiken fr
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Wagner, Richard
Richard Wagners photographische Bildnisse. Mit einem Vorwort von A. Vanselow.
München F. Bruckmann A.-G. 1908. X Textseiten u. 33 Kunstdrucktafeln mit 33 (davon 6 mont.) Wagner-Porträtbildern. OKart.-Einband. (Einband an den Kanten berieben u. teils fleckig). 20x14 cm
Référence libraire : 145898
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Wagner, Richard (1813-1883):
Portrait. Brustfigur im Profil nach rechts in angedeutetem Oval. Radierung von Eugène Michel Joseph Abot (1836-1894), wohl nach einer zeitgenssischen Photographie. In der Platte signiert "E.Abot Aqua-f.", rechts unten mit Bleistitsignatur "E Abot".
Format (Platte): 17 x 12,5 cm. Blattgröße: 36 x 28 cm. *Der Radierer Eugene Abot war ein französischer Künstler und Radierer. Vorliegend das Bildnis Richard Wagners im ersten Plattenzustand. Mit Bleistift bezeichnet: "1er etat", am oberen Blattrand mit Bleistit bezeichnet "Rchard Wagner". Der erste Plattenzustand im Entstehungsprozess dieser Radierung, die Konturen des Gesichts noch unfertig mit viel weißer Fläche. Graphiken de
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Wagner, Richard (1813-1883):
Portrait. Brustfigur im Profil nach rechts in angedeutetem Oval. Radierung von Eugène Michel Joseph Abot (1836-1894), wohl nach einer zeitgenssischen Photographie. In der Platte signiert "E.Abot Aqua-f.". Unten links vom Künstler mit Bleistit bezeichnet "Wagner 1e Etat"
Format (Platte): 17 x 12,5 cm. Blattgröße: 27,5 x 18,5 cm. *Der Radierer Eugene Abot war ein französischer Künstler und Radierer. Vorliegend das Bildnis Richard Wagners im ersten Plattenzustand. Mit Bleistift bezeichnet: "1e Etat". Der erste Plattenzustand im Entstehungsprozess dieser Radierung, die Konturen des Gesichts noch unfertig mit viel weißer Fläche. Graphiken de
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Wagner, Richard (1813-1883):
Portrait. Brustfigur im Profil nach rechts in angedeutetem Oval. Radierung von Eugène Michel Joseph Abot (1836-1894), wohl nach einer zeitgenssischen Photographie. In der Platte signiert "E.Abot Aqua-f.". Unten links vom Künstler mit Bleistit bezeichnet "Wagner 2e Etat"
Format (Platte): 17 x 12,5 cm. Blattgröße: 27,5 x 18,5 cm. *Der Radierer Eugene Abot war ein französischer Künstler und Radierer. Vorliegend das Bildnis Richard Wagners im ersten Plattenzustand. Mit Bleistift bezeichnet: "2e Etat". Der weite Plattenzustand im Entstehungsprozess dieser Radierung, mit Überarbeitung der Platte im Bereich von Jacket und Kragen. Graphiken de
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Wagner, Richard (1813-1883):
Portrait. Brustfigur im Profil nach rechts. Radierung von Eugène Michel Joseph Abot (1836-1894), wohl nach einer zeitgenssischen Photographie. In der Platte signiert "E.Abot Aqua-f.", darunter mit Bezeichnung "Richard Wagner".
Format (Platte): 17 x 12,5 cm. Blattgröße: 36 x 28 cm. *Der Radierer Eugene Abot war ein französischer Künstler und Radierer. Vorliegend das Bildnis Richard Wagners in der vollendeten Fassung mit dem Namen des Abgebildeten. Graphiken de
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Wagner, Richard (1813-1883):
Portrait. Brustfigur im Profil nach rechts. Radierung von Eugène Michel Joseph Abot (1836-1894), wohl nach einer zeitgenssischen Photographie. In der Platte signiert "E.Abot Aqua-f."
Format (Platte): 17 x 12,5 cm. Blattgröße: 36 x 28 cm. *Der Radierer Eugene Abot war ein französischer Künstler und Radierer. Vorliegend das Bildnis Richard Wagners in der vollendeten Fassung, aber noch vor der Nennung des Namens Richard Wagner. Graphiken de
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Wagner, Richard (1813-1883):
Portrait. Brustfigur im Profil nach rechts. Radierung von Eugène Michel Joseph Abot (1836-1894), wohl nach einer zeitgenssischen Photographie. In der Platte signiert "E.Abot Aqua-f.", links unten mit Inlet-Portrait von Franz Liszt.
Format (Platte): 17 x 12,5 cm. Blattgröße: 36 x 28 cm. *Der Radierer Eugene Abot war ein französischer Künstler und Radierer. Vorliegend das Bildnis Richard Wagners in der vollendeten Fassung, aber noch vor der Nennung des Namens Richard Wagner. Plattenvariante mit dem zusätzlichen kleinen Portrait von Franz Liszt. - Ränder etwas gebräunt bzw, stockfleckig. Graphiken de
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Wagner, Richard (1813-1883):
Portrait. Brustfigur im Profil nach rechts. Radierung von Eugène Michel Joseph Abot (1836-1894), wohl nach einer zeitgenssischen Photographie. In der Platte signiert "E.Abot Aqua-f.", links unten mit Inlet-Portrait von Franz Liszt. Mit Bleistiftsignatur "Abot" am unteren Blattrand.
Format (Platte): 17 x 12,5 cm. Blattgröße: 36 x 28 cm. *Der Radierer Eugene Abot war ein französischer Künstler und Radierer. Vorliegend das Bildnis Richard Wagners in der vollendeten Fassung, aber noch vor der Nennung des Namens Richard Wagner. Plattenvariante mit dem zusätzlichen kleinen Portrait von Franz Liszt. Signiertes Exemplar. - Minimal gebräunt. Graphiken de
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Wagner, Richard (1813-1883):
Portrait. Brustigur mit Barett. Stahlstich von Weger.
Format (Bildbereich): 100 x 75 mm. Blattgröße: 290 x 210 mm. Montiert auf dunkles Untersatzpapier. *Richard Wagner (geb. 22. Mai 1813 in Leipzig; gest. 13. Februar 1883 in Venedig im Palazzo Vendramin-Calergi) war ein deutscher Komponist, Dramatiker, Philosoph, Dichter, Schriftsteller, Theaterregisseur und Dirigent. Mit seinen Musikdramen gilt er als einer der bedeutendsten Erneuerer der europäischen Musik im 19. Jahrhundert. Graphiken de
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Wagner, Richard (1813-1883):
Portraitfoto. Originales Photo im Format Carte Visite, zeigt Richard Wagner in Brustfigur en face. Albuminabzug auf Karton.
10,4 x 6,5 cm. *Leicht gebräunt, insgesamt gut erhalten. Fotografien de
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Wagner, Richard (1813-1883):
Porträt. Halbfigur von vorn mit Kopfbedeckung (Barett). Radierung von Unger nach dem Gemälde von Lenbach.
Plattengröße: 257 x 177 mm (Bildgröße: 162 x 129 mm). Blattgröße: 277 x 185 mm. *Richard Wagner (geb. 22. Mai 1813 in Leipzig; gest. 13. Februar 1883 in Venedig im Palazzo Vendramin-Calergi) war ein deutscher Komponist, Dramatiker, Philosoph, Dichter, Schriftsteller, Theaterregisseur und Dirigent. Mit seinen Musikdramen gilt er als einer der bedeutendsten Erneuerer der europäischen Musik im 19. Jahrhundert. - Das klassische bekannte Bildnis Wagners. Originalradierung von William Unger, erschienen als Beilage in Lützow`s "Kunst-Chronik" 1879. - Sehr gut erhalten. Graphiken de
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Wagner, Richard (1813-1883):
Porträt. Kopfportrait en face. Tuschezeichnung nach einem Vorbild. Rechts unten monogrammiert "V.O." und datiert "25.7.04"
Bildformat: 90 x 65 mm). Blattgröße: 117 x 84 mm. *Kleine Originalzeichnung, wohl nach einer Fotografie oder einer früheren Zeichnung gefertigt von einem monogrammierenden Künstler ("V.O."?). Das Monogramm konnte ich nicht verifizieren, die Zeichnung hat jedoch durchaus künstlerische Virtuosität. Graphiken de
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Wahl, Hans (Hrsg.)
Die Bildnisse Carl Augusts von Weimar.
Weimar, Goethe-Gesellschaft, 1925. 4to. Mit 48 Taf., 1 Farbtaf. u. einigen Textabb. 62 S. 1 Bl. Grüne OLwd. m. goldgeprägt. Deckelvignette u. Rückentitel. Roter Kopfschnitt.
Référence libraire : 11430
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Wahl, Hans (Hrsg.)
Die Bildnisse Carl Augusts von Weimar.
Weimar, Goethe-Gesellschaft, 1925. 4°. 62 S. mit Textabbildungen u. 49 Tafeln (davon 1 farbig). Original-Leinwand. Name auf Titelblatt, Schnitt u. Vorsätze leicht gebräunt. Einband nur teils leicht abgegriffen u. an den Ecken ein wenig bestossen. (Schriften der Goethe-Gesellschaft. Band 38)
Référence libraire : 2844AB
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Wakagi Shingo
Takuji
Arizona: Nazraeli Press 1999. Hardcover. Good/fair. Yellow oversized hardcover in jacket no edition stated. A good only copy of the book with relatively heavy wear at the spine end and corners and minor soiling to the text block edges and boards. Interior is very good with clean and unmarked pages in a solid binding lacking in tightness. Dustjacket in only fair condition with a 1/2 inch chunk missing at the center top of the fron panel and a long tear at top of the rear spine fold. - other short tears and chips at the edges. 100 pages a beautiful collection of black and white photos of Wakagi's grandfather. A copy to use not collect due to it's rough exterior. <br/><br/> Nazraeli Press hardcover
Référence libraire : 845 ISBN : 392392271x 9783923922710
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Walch, S. portraits 34: - CHAM, Bernardus a
Bernardus a CHAM . Illustris. Reipublicae Tigurinae Consul electus 1560 - 1571.
1756, 30x20 cm (Lichtmass), Brustbild en face, mit dem Wappen der Familie CHAM in einer Wappenkartusche. Gerahmt. - Unter Glass in Schwarzer Holzrahmen. Ca. 45 x 33 cm.
Référence libraire : 127730aaf
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Walch, S. portraits 37: - THOMANN, Caspar:
Casparus Thomannus. Illustr. Reipublicae Tigurinae Consul electus A° 1583 - 1594
1756, 30x20 cm (Lichtmass), Brustbild en face, mit dem Wappen der Familie THOMANN in einer Wappenkartusche. Gerahmt. - Unter Glass in Schwarzer Holzrahmen. Ca. 45 x 33 cm.
Référence libraire : 127723aaf
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Walch, S. portraits 23: SCHWEND, Conrad
Conradus Schwend. Eques Reipublicae Tigurinae consul A° 1480 - 1499.
1756, 30x20 cm (Lichtmass), Brustbild en face, mit Kette und dem Wappen der Familie Schwend in einer Wappenkartusche. Gerahmt. - Unter Glass in Schwarzer Holzrahmen. Ca. 45 x 33 cm.
Référence libraire : 127732aaf
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Waltershausen, Hermann Wolfgang (1882-1954):
Deutscher Musikpädagoge und Komponist.
München, Marga Lutteroth, (um 1930). Photographie (Portrait). Format: Postkarte.
Référence libraire : 490AG
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Walch, S. portraits 30: - ROESTI, Diethelm:
Diethelmus Roestius. Illustr. Reipublicae Tigurinae Consul temore Reformationis Electus 1524.
1756, 30x20 cm (Lichtmass), Brustbild en face, mit dem Wappen der Familie ROESTI in einer Wappenkartusche. Gerahmt. - Unter Glass in Schwarzer Holzrahmen. Ca. 45 x 33 cm.
Référence libraire : 127724aaf
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Walch, S. portraits 24: Brenwald, Felix:
Felix Brenwald. Reipublicae Tigurinae consul A° 1489 - 1492
1756, 30x20 cm (Lichtmass), Brustbild en face, mit dem Wappen der Familie BRENWALD in einer Wappenkartusche. Gerahmt. - Unter Glass in Schwarzer Holzrahmen. Ca. 45 x 33 cm.
Référence libraire : 127733aaf
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Walch, S. portraits 12: MANASSES, Felix
Felix Manasses. Consul Illustr. Reipublicae Tigurinae A° 1428.
1756, 30x20 cm (Lichtmass), Brustbild en face, mit dem Wappen der Familie Manasses einer Wappenkartusche. Gerahmt. - Unter Glass in Schwarzer Holzrahmen. Ca. 45 x 33 cm.
Référence libraire : 127748aaf
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Walch, S. portraits 28: Schmid, Felix
Felix Schmidius. Reipublicae Tigurinae Consul A° 1524.
1756, 30x20 cm (Lichtmass), Brustbild en face, mit dem Wappen der Familie Schmid einer Wappenkartusche. Gerahmt. - Unter Glass in Schwarzer Holzrahmen. Ca. 45 x 33 cm.
Référence libraire : 127750aaf
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Walch, S. portraits 33: Muller, Georg
Georgius Mullerus. Reipublicae Tigurinae Consul A° 1557-1567
1756, 30x20 cm (Lichtmass), Brustbild en face, mit dem Wappen der Familie Braemeiner Wappenkartusche. Gerahmt. - Unter Glass in Schwarzer Holzrahmen. Ca. 45 x 33 cm.
Référence libraire : 127755aaf
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Walch, S. portraits: 20 - ROESTI, Henri:
Henricus Roestius. Consul Reipublicae Tigurinae A° 1469 - 1509.
1756, 30x20 cm (Lichtmass), Brustbild en face, mit dem Wappen der Familie ROESTI in einer Wappenkartusche. Gerahmt. - Unter Glass in Schwarzer Holzrahmen. Ca. 45 x 33 cm.
Référence libraire : 127726aaf
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