‎Portraits‎

‎Voltaire, Franz Maria Arouet (1694-1778):‎

‎Portrait. Halbfigur sitzend nach viertellinks in Oval. Bildunterschrift: Franz Maria Arouet Voltaire. Schriftsteller, geboren zu Chatenay bey Paris den 20ten Februar 1694, gestorben am 30ten May 1778. Lithographie von Hirsch.‎

‎Format (Bildgröße):162 x 140 mm. Blattgröße: 321 x 239 mm. *Voltaire war ein berühmter französischer Philosoph und Schriftsteller der Aufklärung. Graphiken de‎

‎Voltaire, François Marie Arouet de (1694-1778):‎

‎Portrait nach rechts in Ganzfigur am Schreibtisch. Lithographie auf aufgewalztem China von J.S. Templeton, frei nach dem Gemälde von Carmontelle.‎

‎Format (Bildgröße): 235 x 180 mm. Blattgröße: 370 x 270 mm. *Voltaire war ein berühmter französischer Philosoph und Schriftsteller der Aufklärung. - Sehr seltenes Blatt. Der Lithograph John Samuel Templeton stammte aus Dublin in Irland. Er studierte 1819 in der Dublin Society`s Drawing School. Er war auf diversen Kunstausstellungen in London vertreten mit Landschaften und später mit Portraits, hauptsächlich als Lithograph. Graphiken de‎

‎Volz, Gustav Berthold‎

‎Friedrich der Große im Bilde seiner Zeit.‎

‎Berlin u. Leipzig, K. F. Koehler, 1926. 4to. Mit 40 Taf. 4 Bl., 43 S. OHlwd. m. goldgeprägt. Deckelillustr. u. Rückentitel.‎

‎Ecken etw. bestoßen, Deckel leicht lichtrandig. Sonst ein gutes Ex.‎

書籍販売業者の参照番号 : 12011

‎Vondel, Joost van den (1587-1679)‎

‎Niederländ. Dichter.‎

‎O.J. (um 1780). Kupfer in Punktiermanier nach einer Büste. Bildgrösse: 26 x 21 cm. Blattgrösse: 28 x 21,5 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +‎

‎Plattenrand 3-5 mm.‎

書籍販売業者の参照番号 : 76BG

‎Vorsteher, D. und Quermann, A. (Hrsg.)‎

‎Das Porträt im XX. Jahrhundert - Fotografien aus der Sammlung des Deutschen Historischen Museems‎

‎Berlin, Deutsches Historisches Museum, 2005. Broschur, mit s/w-Deckelphoto, gr. DinA 4, größeres Format, 227 Seiten, sehr viele sw-Photos, wenige Farbfotos, kein reiner Bildband, da auch Text, minimale Gebrauchsspuren, minimal beschabt, leicht verzogen, gut erhalten / guter Zustand [5 Warenabbildungen]‎

‎ISBN 3861021374; anlässlich der Ausstellung vom 9.12.2005 bis 9.4.2006; mit einer Einführung von Enno Kaufhold; Inhalt: Vorwort; Das fotografische Porträt als Spiegel des Gesellschaftlichen; Porträtateliers; Das bürgerliche Porträt im Kaiserreich; Das individuelle Portrait; Führerbild und Volksgesicht; Das zeitlose Porträt: Tita Binz; Deutsch-deutsche Portraits; Werkgruppen; Unsere Gesichter; Abbildungsverzeichnis; wegen des hohen Gewichts Versand in Länder außerhalb der EU nur auf Anfrage und Portoerhöhung möglich / higher shipping-costs outside EU‎

書籍販売業者の参照番号 : 30648pg

‎Vos, Paul de (ca. 1591 - 1678):‎

‎Halbfigur. Radierung von Lommelin nach dem Gemälde des Anthonis van Dyck. Unten mit Inschrift: "Paulus de Vos Antverpiensis, pictor in omni genere animalium etiam venatio- num ..."‎

‎Format (Platte): 262 x 183 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 181, III mit den Kennzeichungen der überarbeiteten Platte. - Paul de Vos wurde um 1596 in der damals flämischen Stadt Hulst geboren, die in der Nähe von Antwerpen liegt und inzwischen zu den Niederlanden gehört. Über Paul de Vos‘ persönliches Leben ist, obwohl er einer der großen Tiermaler seiner Zeit war, nicht viel bekannt. Er wuchs in einer Malerfamilie auf, sein älterer Bruder Cornelis de Vos war vor allem für detailgetreue Portraits und Historienmalereien bekannt und auch sein jüngerer Bruder Jan de Vos widmete sich zwischenzeitlich der Malerei. - Unterrand minimal gebräunt, insgesamt sehr gut erhalten. Graphiken de‎

‎Voss, Joh. Heinrich (1751-1826):‎

‎Deutscher Dichter.‎

‎O.J. (um 1830). Kupferstich (Brustbild). Bildgrösse: 8,8 x 7,6 cm. Blattgrösse: 22,6 x 13,5 cm.‎

‎Leicht stockfleckig.‎

書籍販売業者の参照番号 : 459CG

‎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.‎

‎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.‎

‎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.‎

‎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.‎

‎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.‎

‎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.‎

‎VOX Maximilien 150 portraits et 300 notes marginales.‎

‎Conversations avec Bonaparte.‎

‎Couverture rigide. Reliure toile de l'éditeur. 312 pages. Rhodoïd.‎

‎Livre. Préface de Jean Giono. 150 portraits et 300 notes marginales. Editions Culture, arts, loisirs, 1967.‎

書籍販売業者の参照番号 : 129420

‎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

‎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

‎Vézina, Raymond‎

‎Théophile Hamel. Tome 1 : Peintre national (1817-1870)‎

‎Éditions Élysée In-4 Jaquette en état satisfaisant Couverture rigide toile Montréal 1975‎

‎Très bon 301 pages. Tome 1 seulement. Accrocs à la jaquette, signature en page de garde. Monographie de qualité, nombreuses illustrations.‎

書籍販売業者の参照番号 : 17193

‎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

‎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

‎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

‎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

‎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

‎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

‎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

‎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