‎Van dyck‎

‎Anthony van Dyck‎

‎National Gallery of Art.Washington.1990.Gd.in-4,couverture souple illustrée en couleurs.Exhibition dates: 11 November.1990-24 February 1991.383 pages.Très nombreuses reproductions de tableaux,pleine page, en noir et en couleurs.En langue anglaise.TBE,malgré des soulignures au stylo au chapitre " Van Dyck's Painting Technique ".‎

Bookseller reference : 39589

‎(Van Dyck, Anthony) Christopher Brown & Hans Vlieghe:‎

‎Anthony Van Dyck 1599-1641‎

‎-Royal Academy Publications / Antwerpen Open 1999-. Exhibition catalogue. First edition 1999. 300x245mm 360 pages with index. Illustrated in colour and black and white. Paperback. Very good indeed. We are specialists in Artists Monographs Catalogues and Illustrated items. All items are as described and dispatched within 24 hours in a secure package. We are professional booksellers with over 38 years experience you may order with confidence. Other titles by this artist maybe in stock please ask for our list or link. Anthony Van Dyck 1599-1641. Flemish artist -Royal Academy Publications / Antwerpen Open (1999)- paperback‎

Bookseller reference : 30026

‎(Van Dyck, Anthony) Christopher Brown & Hans Vlieghe:‎

‎Anthony Van Dyck 1599-1641‎

‎-Royal Academy Publications / Antwerpen Open 1999-. Exhibition catalogue. First edition 1999. 300x245mm 360 pages with index. Illustrated in colour and black and white. Paperback. Very good indeed. We are specialists in Artists Monographs Catalogues and Illustrated items. All items are as described and dispatched within 24 hours in a secure package. We are professional booksellers with over 38 years experience you may order with confidence. Other titles by this artist maybe in stock please ask for our list or link. Anthony Van Dyck 1599-1641. Flemish artist -Royal Academy Publications / Antwerpen Open, 1999- paperback‎

Bookseller reference : 20608

‎[VAN DYCK Antoine] GUIFFREY Jules‎

‎ANTOINE VAN DYCK. SA VIE ET SON OEUVRE.‎

‎1882 Paris, chez A. Quantin, 1882. Ouvrage in-folio relié pleine toile de percaline beige, encadrements rouges sur les plats, 297 pages. Illustré de28 gravures hors-texte sous serpentes. ill in texteet nombreuses, eaux-fortes, hélogravuresavec un catalogue des oeuvres‎

‎bon état‎

Bookseller reference : 7824

‎[VAN DYCK, ANTHONY] MARTIN, John Rupert and Gail Feigenbaum‎

‎Van Dyck as Religious Artist‎

‎Princeton: Princeton University Press 1979. First Edition. Quarto 28.5cm x 28cm. Dark blue cloth boards hardcover with titling embossed in gold on spine; pictorial dustjacket; 180pp; illus. Near Fine copy; slight shelf wear to extremities slight soiling to bottom textblock corner else clean and tight. Very Good dustwrapper; fading/discoloration to spine; slight shelf wear to extremities else clean and sound. Catalogue published in conjunction with the exhibition "Van Dyck as Religious Artist" held at the Art Museum Princeton University April 7-May 20 1979. Princeton University Press unknown‎

Bookseller reference : 44338

‎Alfred N. Goldsmith, Arthur F. Van Dyck, Robert S. Burnap, Edwart T. Dickey, George M. K. Baker (editors)‎

‎Electron Tubes. Volume I: 1935-1941‎

‎RCA 1949-03-01. Hardcover. Good. Hardcover. Good no dust jacket blue boards. Sunned cover. Name inside else Interior clean and unmarked. Tight binding. Dampstain to corner of the volume. RCA hardcover‎

Bookseller reference : 887915

‎Anghelaki-Rooke, Katerina; Van Dyck, Karen [Editor]‎

‎The Scattered Papers of Penelope: New and Selected Poems Lannan Translation Selection Graywolf Paperback‎

‎Graywolf Press 2009-03-03. Paperback. New. In shrink wrap. Looks like an interesting title! Graywolf Press paperback‎

Bookseller reference : Q-1555975194 ISBN : 1555975194 9781555975197

‎Barnes Jean S. Van Dyck‎

‎Wise Woman Within: Living from the Wisdom Within‎

‎NEW. unknown‎

Bookseller reference : BIB-NOV-14-2025-645034 ISBN : 1649495005 9781649495006

‎Bible. Arabic. Van Dyck. 1913.‎

‎four lines in Arabic romanized as al-Kitab al-Muqaddas ay Kutub al-Ahd al-Qadim wa-al-Ahd al-Jadid. Wa-qad turjima min al-lughat al-asliyah wa-hiya al-lughah al-Ibraniyah wa-al-lughah al-Kaldaniyah wa-al-lughah al-Yunaniyah.‎

‎in Arabic: Beirut: The American Printing Press 1913. 8vo 18.5 cm 7.5" 920 295 pp. <br><br>The Van Dyck translation of the Bible into Arabic first appeared in 1865 and remained the standard version used by Arabs for a century. This edition from the American Printing Press is => an all-Arabic production with the only English appearing in it being a small-print line "Bible Third Font 282" on the title-page at "rear".<br>    Cornelius Van Alen Van Dyck 1818–95 was born at Kinderhook NY and educated at Jefferson Medical College Philadelphia receiving his M.D. in 1839. The following year the American Board of Commissioners for Foreign Missions sent him to Lebanon as a medical missionary for the Dutch Reformed Church and he remained in the Middle East for the rest of his life with only an occasional trip to the U.S.<br>    Van Dyck became fluent in Arabic wrote extensively in that language and taught medicine and other subjects: "He was professor of pathology and internal medicine in the medical school of the newly founded Syrian Protestant College which later became the American University of Beirut. He also taught astronomy in its literary section directed its observatory and meteorological station as well as the mission press and edited its weekly journal al-Nashran. He wrote Arabic textbooks on chemistry internal medicine physical diagnosis and astronomy publishing some of them at his own expense" Wikipedia.<br>    WorldCat records at least three editions of the Arabic Bible from the American Printing Press in 1913 each with a different pagination. Publisher's brown cloth spine stamped in gilt with title in Arabic and with blind stamping to covers and spine; some chipping to cloth around spine and at edges. Printed on very thin paper occasionally showing a short tear or a crease but clean and untattered. A very good copy. The American Printing Press hardcover books‎

Bookseller reference : 41439

‎BOLSWERT Schelte Adam (Bolswert 1586 – Anversa 1659)‎

‎Adriaen van Ertvelt‎

‎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.‎

‎BOLSWERT Schelte Adam (Bolswert 1586 – Anversa 1659)‎

‎Ritratto di Willelm 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 the 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. "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.‎

‎Capenberghs, Joris et al.‎

‎En dialogue avecVAN DYCK‎

‎Antwerpen Open vzw, Antwerpen, 1999. In-8, broché 56 pp. Un joyau - Joost van den Vondel (1587-1679) - Marie Mercier-Nizet (1859-1922): Sosie - Abraham Cowley (1616-1667) : On the Death of Sir Anthony Vandike, The famous Painter - Joris Capenberghs : Antoine van Dyck et Christopher Brown. Portrait d'une ...‎

‎Avec 30 illustrations et planches en noir et en couleurs. --- Plus d'informations sur le site archivesdunord.com‎

Bookseller reference : 7442

‎CHASLES Philarète Euphemon‎

‎Charles 1er - Sa cour, son Peuple et son Parlement 1630-1660.‎

‎Histoire anecdotique et pittoresque du mouvement social et de la guerre civile en Angleterre au XVIIe siècle. Par Philarète Chasles (1798-1873).Homme de lettres et journaliste français, auteur de nombreuses études littéraires, il a beaucoup contribué à faire connaître en France la littérature de langue anglaise.18 gravures sur acier d'après Van Dyck, Rubens et Cattermole.Paris, Madame Ve. Louis Janet - non daté (1890) - 262 pages. 24 hors texte (noté 18 sur le titre) et 25 dans le texte.Belle reliure demi-maroquin rouge à coins de l'époque. Dos lisse aux titre et auteur dorés. Couverture conservée. Non rogné. Pas de rousseur. Très bon état. Format in-4°(28x20).‎

‎VAN DYCK - RUBENS - CATTERMOLE‎

Bookseller reference : 15401

‎Chiarini Marco (a cura di) REMBRANDT - RUBENS - VAN DYCK - Ember Ildiko‎

‎Rembrandt Rubens Van Dyck e il Seicento dei Paesi Bassi‎

‎Leonardo Arte January 1995. Trade Paperback. VG. used trade paperback edition. lightly shelfworn corners perhaps slightly bumped. pages and binding are clean straight and tight. there are no marks to the text or other serious flaws. Leonardo Arte paperback‎

Bookseller reference : 1289089 ISBN : 8878135356 9788878135352

‎Collectif‎

‎La revue des Beaux Arts et des Lettres - Aout / Septembre 1899 Spécial Van Dyck‎

‎1899 Grand In4 - broché - pagination continue de 389 à 419 - coins rognés - couverture brunie - Spécial Antoine Van Dyck‎

‎Satisfaisant‎

Bookseller reference : Zf253

‎COLLECTIF‎

‎CHEFS D'OEUVRE DE L'ART. GRANDS PEINTRES. VAN DYCK‎

‎Hachette 1967. In-Folio broché couverture illustrée rempliée de 16 planches + texte .Bon état‎

‎Constantine, Peter (Editor); Hadas, Rachel (Editor); Keeley, Edmund (Editor); Van Dyck, Karen (Editor); Hass, Robert (Introducti‎

‎The Greek Poets: Homer to the Present‎

‎New York NY USA: W. W. Norton & Company 2010. Good. Good condition. Light wear. Binding tight pages age toned. Pictures available upon request. . AP. W. W. Norton & Company unknown‎

Bookseller reference : 125981 ISBN : 1616645210 9781616645212

‎Darling, Dale Y.; Van Dyck, Julia‎

‎The Airtight Woodstove Cookbook‎

‎USA: Brick House 1981. Book. Good. Hardcover. Reprint. 8vo - over 7¾" - 9¾" tall. 124 pages. Index. Illustrated. Includes recipes for unpretentious yet delicious family fare shuch as apple pancakes and special popcorn mixes as well as recipes for gourmet dishes like stuffed veal. Information about stoves and wood storage. Moderate wear. Unmarked. Brick House Hardcover‎

Bookseller reference : 755a6826 ISBN : 0931790344 9780931790348

‎De JODE Pieter (1572/3-1634)‎

‎Adriaen de Noel‎

‎Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640.  Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti.  L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens.  Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare” con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked.  Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52).  The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed.  The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates).  Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.‎

‎De JODE Pieter (1572/3-1634)‎

‎Antonius Triest‎

‎Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640.  Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti.  L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens.  "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare”, con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked.  Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52).  The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed.  The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates).  Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.‎

‎De JODE Pieter (1572/3-1634)‎

‎Iohannes Snellincx‎

‎Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640.  Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti.  L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens.  "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare”, con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked.  Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52).  The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed.  The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates).  Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.‎

‎DEPAUW et LUIJTEN‎

‎Antoine Van Dyck et l’estampe‎

‎Broché sous couvertures illustrées. Anvers, Amsterdam Open, Rijksmuseum 1999 1 volume in-4°‎

Bookseller reference : 3176

‎Depauw, Carl. Luijten, Ger. Van Dyck, Anthony (1599-1641)‎

‎Anthony van Dyck as a printmaker / Carl Depauw & Ger Luijten ; with contributions by Erik Duverger . et al. ; translation Beverley Jackson . et al.‎

‎New York : Antwerpen Open ; Rijksmuseum Amsterdam 1999. 1st edition. Softcover. Near fine paperback copy; edges very slightly dust-dulled. Remains particularly well-preserved overall; tight bright clean and especially sharp-cornered. Physical description; 400 p. : ill. ; 31 cm. Notes; ""Published on the occasion of the exhibition Van Dyck-a gifted engraver Museum Plantin-Moretus/Stedelijk Prentenkabinet Antwerp 15 May-22 August 1999; Antoon van Dyck en de prentkunst Rijksmuseum Rijksprentenkabinet Amsterdam 9 October 1999-9 January 2000""--P. 2. Includes bibliographical references p. 391-400. Subjects; Van Dyck Anthony 1599-1641 Exhibitions. Van Dyck Anthony 1599-1641 Influence ; Exhibitions. Prints 17th century Belgium Flanders ; Exhibitions. Prints 17th century Netherlands Exhibitions. Prints Dutch ; Exhibitions. Prints Flemish Exhibitions. New York : Antwerpen Open ; Rijksmuseum Amsterdam paperback‎

Bookseller reference : 408579 ISBN : 9058460150 9789058460158

‎Dr. CS. Van-Dyck‎

‎Fatebreakers: Mortal Bounds of Eden-Hills‎

‎Hardcover. NEW/NEW. <br/> <br/> hardcover‎

Bookseller reference : Pazz82190 ISBN : 9798294816965 9798294816

‎Dunham, J., van Dyck, E.‎

‎Art of the Trout Fly‎

‎Chronicle Books. Used - Very Good. Very Good condition. Very Good dust jacket. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner’s name short gifter’s inscription or light stamp. Chronicle Books unknown‎

Bookseller reference : L06F-00541 ISBN : 0877015287 9780877015284