6.246 Ergebnisse
Best.-Nr. #[60436]Landscape with large galleys and harbour on the left. Rising sun. Fishermen in the left foreground. Signed on the bottom left:'Petrus Stephani Jnuent' l Engraving on paper trimmed to platemark; total: 200 x 265 mm; state I/2; Hollstein 258 unknown
Best.-Nr. #[60438]Landscape with town in the background. High trees on the right Signed on the bottom left:'Iusto sadeler excud' and on the lower right corner:'Paulus Bril inuentor' l Engraving on paper trimmed within platemark; total: 193 x 270 mm; only state; small stains otherwise in great conditions; Hollstein 69 W. 102 Aegidius Sadeler unknown
Best.-Nr. 60431Riverscape with a stone bridge and a wooden bridge some personnages walking over them. A village on the right and on the left river flowing towards the background.Signed on the bottom center: 'Paulus Bril inuentor' and on the lower right corner:'EGS / scalp.' Engraving on paper trimmed to platemark; total: 191 x 267 mm; only state; in great conditions; Hollstein 205 W. 401. unknown
Best.-Nr. 51-3775Gerard de Jode 1585. 3 engravings on contemporary laid paper. 27 x 34 cm. sheet size. Wide margins. Johann Sadeler I. After Maarten van Cleve. Betsabe & Uriah. 3 engr. pl. 2-4 from the «Story of Solomon»: David speaks to Uriah;Uriah is killed in the battle B.M. 19681018.1.120 and Nathan criticising David for Uriah's death B.M. 19681018.1.121. All were published in the «Thesaurus Sacrarum Historiarum veteris testamenti» by Gerard de Jode. Ref. New Hollstein De Jode Dynasty I 118-122.1. Gerard de Jode, 1585. unknown
Best.-Nr. 60437Landscape with high trees in the center wooded bridged with personnages. From the set: Six mountainous Landscapes in Tyrol.Very sharp impression; Original Drawig by Savery in Paris at Louvre F. Lugt: Inv. général des Dessins des Écoles du nord Ec. Holl vol II 1913 n. 712. Engraving on paper trimmed to platemark; total: 191 x 265 mm; possibly state I/2; Hollstein 230; W. 107. unknown
Best.-Nr. 65512Several episodes of the New Testament in a river landscape with Christ and St. Peter. From the set: 'Land and River landscape with stories of the Old and New Testament'.Signed on the bottom left:'HBol inue. John sadl. excu.' Etching on paper trimmed within platemark; total: 191 x 262 mm; only state; some minor staining otherwise in great conditions; Hollstein 570. unknown
Best.-Nr. 60427On a river landscape are represented several episodes of the New Testament involving Christ and St. Peter. Set title: 'Land and River landscape with stories of the Old and New Testament.'Signed on the bottom left:'HBol inue. John sadl. excu.'Discipel Petrus loopt over water. Mattheüs 14. Etching on paper trimmed within platemark; total: 193 x 269 mm; only state; in great conditions; Hollstein 572. unknown
Finissima incisione su soggetto di pari bellezza, opera congiunta di una coppia di artisti appartenenti a due illustri, cospicue dinastie di pittori e incisori quali furono i Breugel e i Sadeler. La scena, vivacissima, raffigura un porto naturale nei pressi di una imponente città, visibile sullo sfondo ed estesa verso i monti retrostanti (forse Napoli, dove Breugel soggiornò nel 1590?); diverse barche e velieri sono ormeggiati presso la riva o più al largo. In primo piano si affollano pittoreschi personaggi: mercanti, popolani, garzoni e pescatori con ceste colme di pesci. Le Blanc, III/p. 397, n. 197. Wurzbach, pp. 534-538/n. 103.
1689Best.-Nr. 044668Paris: Pierre Aubouyn Pierre Emery et Charles Clouzier. Printed By Laurent Rondet 1689. In French. Worn. New edition title page dated 1689. Beautifully illustrated includes 139 fables each with the written fable on the left hand page and a wood engraving on the right with the moral below. Full brown leather frontis 12 279p two page colophon errata 1 page advertisement. Rear cover and rear free endpaper detached covers work spine dried but stabilized front hinge cracked front free endpaper and frontis loosened but not detached pages lightly age-toned but clean old dampstain to lower inner margins of first 100 pages and then again toward the end of the book not affecting printed areas different bookplates on either side of front free endpaper second one is from E. Coster Wilmerding name of Richard Creed Paris 1700 inside front cover with an 1814 notation that the book belonged to Richard Creed who was slain at the Battle of Blenheim and was being presented to Miss Katherine Simcoe signed Wililam Walcot names may actually be different that is what we could make out from the handwriting. Hard Cover. Fair. 8vo - over 7¾" - 9¾" tall. Pierre Aubouyn, Pierre Emery et Charles Clouzier. Printed By Laurent Rondet Hardcover
1660Best.-Nr. C100117Rome: Iacomo Di Rossi 1660. Second Edition. Hardback. Hardcover Hardcover. Very Good. Second Edition. Hardback. Wide oblong 4to. 39 by 27 cms. Half cream parchment over marbled boards title inked in sepia on parchment spine. Second editionfirst printed in 1606. With an engraved allegorical title with the main title incised within a wolf's hide hung on a monument; also an engraved dedication page to Matthaeus Wacker von Wackenfels numbered '1' but actually the third page with the text incised on a stone tablet between flanking obelisks and with two putti supporting the dedicatee's arms; and 49 full-paged engraved plates ca. 170 x 270 mm all numbered and signed 'Marco Sadeler excudit' with descriptive captions in Italian. Decent clean sound copy with plates unfoxed title page only sl foxed ink number to the corner of each plate probably contemporary with the book. The number is close to top right corner of each plate but not affecting any image. Other than Rome views also include a series of seaside views and some of the Golfo di Napoli and its dintorni: the Golfo di Baia Cuma the Lake of Averno the Campi Flegrei Capo Miseno and the Villa Agrippina a Oplontis and Pozzuoli. Iacomo Di Rossi, hardcover
1631Best.-Nr. 6220Munich: Melchior Segen 1631. Contemporary vellum with two brass clasps blue edges. 12mo. With an engraved title page and 12 full-page engraved emblems by Raphael Sadeler. Revised and enlarged edition of one of the most attractive emblem books by the Jesuit author Jeremias Drexel 1581-1638. Born in Augsburg and active for most of his career in Munich Drexel was among the most celebrated Catholic devotional writers of the 17th century. After entering the Society of Jesus he gained renown as a preacher and was appointed court preacher to Maximilian I Elector of Bavaria 1573-1651. His numerous ascetical and devotional works achieved remarkable popularity throughout Europe appearing in many editions and translations.First published in 1622 the Zodiacus Christianus appeared in numerous editions; the present copy is the fifth. In the work Drexel transforms the 12 signs of the zodiac into Christian moral and spiritual emblems. Rejecting their astrological significance he interprets each sign allegorically as representing stages in the Christian life and symbols of divine providence and predestination. The work combines learned theological reflection with practical moral instruction illustrating the Jesuit use of emblematic imagery as a powerful instrument for meditation and religious education during the Counter-Reformation.The text is illustrated with a finely engraved series of emblematic plates by Raphael Sadeler 1561-1632 one of the most accomplished members of the celebrated Sadeler family of engravers. Rich in symbolic detail the engravings harmoniously combine biblical imagery classical motifs and emblematic devices making the work one of the finest examples of 17th-century Jesuit book illustration.The margins are slightly trimmed. Otherwise in very good condition.l Dünnhaupt p. 1377 5.13; USTC 2518976 2 copies; VD 17 23:267994Z; WorldCat 314128646 258194835; cf. Caillet 3250 Cologne ed. of 1634; Hollstein XXI Raphael Sadeler II 109-124 Munich ed. 1628; Landwehr German emblem books 229 Munich ed. 1618. Melchior Segen, hardcover
1581Best.-Nr. 324282Antwerp 1581. Dirck Barendsz aka Theodor Barendszoon. Engraving 14 x 17 1/2" with added 1/4" margins. Toning lower left otherwise in very good condition. After a drawing by Dirck Barendsz dated 1581 which is now in the Victoria and Albert Museum London. This engraving captures a dramatic juxtaposition between refinement and chaos emblematic of the late Renaissance period's moral and philosophical tensions. In the foreground finely dressed nobility are absorbed in music feasting with an air of calm and indulgence oblivious to the horrors unfolding beyond their insulated space. Meanwhile through windows or open doors in the background scenes of upheaval are visible. These might include depictions of fire storms war or other catastrophic events that suggest both moral decay and the broader instability of the world. Not recorded by Hollstein with a modified address "Theodor Bernard: Amsterod: pinx" instead of ". inuentor". Johannes I. Sadeler 1550-1600 The Sadeler family were the largest of the dynasties of Flemish engravers that were dominant in Northern European printmaking in the later 16th and 17th centuries as both artists and publishers. Dirck Barendsz aka Theodor Barendszoon 1534-1592 was a Dutch Renaissance painter from Amsterdam who traveled to Italy in his youth to learn from the Italian masters most notably Titian. Hollstein 265. unknown
1581Best.-Nr. 324282Antwerp 1581. Dirck Barendsz aka Theodor Barendszoon. Engraving 14 x 17 1/2" with added 1/4" margins. Toning lower left otherwise in very good condition. After a drawing by Dirck Barendsz dated 1581 which is now in the Victoria and Albert Museum London. This engraving captures a dramatic juxtaposition between refinement and chaos emblematic of the late Renaissance period's moral and philosophical tensions. In the foreground finely dressed nobility are absorbed in music feasting with an air of calm and indulgence oblivious to the horrors unfolding beyond their insulated space. Meanwhile through windows or open doors in the background scenes of upheaval are visible. These might include depictions of fire storms war or other catastrophic events that suggest both moral decay and the broader instability of the world. Not recorded by Hollstein with a modified address "Theodor Bernard: Amsterod: pinx" instead of ". inuentor". Johannes I. Sadeler 1550-1600 The Sadeler family were the largest of the dynasties of Flemish engravers that were dominant in Northern European printmaking in the later 16th and 17th centuries as both artists and publishers. Dirck Barendsz aka Theodor Barendszoon 1534-1592 was a Dutch Renaissance painter from Amsterdam who traveled to Italy in his youth to learn from the Italian masters most notably Titian. Hollstein 265. unknown books
Best.-Nr. 16-4208Prague: Egidius Sadeler 1601-1602. Small folio. 183 x 30.5 cm. 19th Century half calf. 3 vols. bound together with numerous plates.Vol. 1: 3 leaves; 60 engraved leaves lacking nos. 52 and 53; engraved portrait of Octavio de Strada; Vol. 2: 8 184 8pp; Vol. 3: 6pp 51 leaves; 8pp. Small wormholes in first few and last few pages.Very rare. OCLC Number:181875317.TYPOTIUS Jacques. Symbola divina et humana pontificum imperatorum regum. Prague Chez Sadeler 1601; in-folio IV-59 gravures 184 pp. index de 8 pages et 41 pages en chiffre romain index alphabétique de 8 pages reliure demi-veau brun du 19 ème siècle dos lisse orné tranches jaspées. Ouvrage en trois parties avec deux très belles pages de titres imprimées. Notre exemplaire est incomplet des gravures 52 et 53 dans la première partie. Célèbre livre d'emblèmes un des plus beaux et des plus importants de son temps. Les planches ont été gravées par Sadeler. Prague: Egidius Sadeler, 1601-1602 unknown
Best.-Nr. 18505Passau, Konrad Frosch, 1633.
1594Best.-Nr. B6281Venetiis Munich possib. Anvers: : Joann. and Raphael Sadeler c. 1594-1606. . An illustrated work in very good condition with plates clean and mostly wide margined; a few of the plates are reinforced with fine tissue paper; also occasional marginal tears repaired. Edition: First edition anthology of five works. Binding: 18th century full vellum; rebacked expertly saving the original spine; flat spine with gilt lettered and dated title on morocco label; edges marbled; renewed endpapers. Notes: Captions in Latin. The work depicts hermits saints with one of five parts devoted to female believers; this anthology is rarely offered. The members of the Sadeler family were among the most successful Flemish engravers and publishers of their time. Size: Oblong folio 335x263mm. Illustration: 103 copper-engravings; of these 102 illustrated; these include: three titles to the first three works; the paragramma with engraved border. The first work “SYLVA SACRA” being one complete series of hermetic saints with 31 illustrated plates plus a dedication; of the remaining four series of hermetic saints one is dedicated to female hermits: Work II or the “SOLITUDO SIVE VITAE FOEMINARUM” has 14 plates of 25; Work III or the “ORACULVM // ANACHORETICVM. // … MDC” has 22 plates of 26; Work IV or the “Solitudo // sive // vitae patrum // eremicolarum…” has 12 plates of 30; Work V or the “Trophaeum vitae solitariae. // … Venetiis” 1598 Martin de Vos figur. has 23 plates of 26. Volume: five works in one volume References: Graesse VI: 211-212. Pages: Ll: bl. ill.102ff. Collation: all of 31 ill. plus 1 dedication; 14 ill.; 22 ill.; 12 ill.; 23 ill. Category: Book Europe Italy; Book Europe Benelux; Book Europe Germany; Book Plate Books General; Book Religious Christianity; Book Early Printed 1500; Joann. and Raphael Sadeler, hardcover
Best.-Nr. LCS-1823312 estampes du XVIe siècle en premier tirage. S.l.n.d. [Antwerp, 1570-1580]. Suite de 12 gravures originales au burin (sur 13 ?) montées sur papier fort en un album in-4. La suite a été reliée sans le feuillet de titre. Vélin ivoire rigide, triple encadrement de filets dorés sur les plats, dos à nerfs orné de fleurons dorés, pièce de titre de maroquin rouge, coupes décorées, roulette dorée intérieure, tranches rouges. Reliure du XIXe siècle. Dimensions des gravures : 161 x 111 mm. Dimensions des pages : 220 x 156 mm.
1691Best.-Nr. 006985Rome: Vestigi -- Jacomo Rossi 1691. Full Mottled Calf. Very Good. Spectacular collection of plates of the architecture fountains churches streets and ruins of the Eternal City. Oblong folio. 25 by 38 cm. 198 plates four folding plus title and dedication pages. Plate count is including titles and dedications which are decorated with illustration. The first work of the five "Vestigi della Antichita" has Rococo allegorical illustrations on both the title and dedication pages and in addition to its 50 plates three additional engraved folding plates by Étienne Dupérac have been bound in. "Le Fontane" has two engraved dedication pages both richly illustrated in addition to 45 view plates. Final suite of eight plates includes a plate folding both on bottom and side. Contemporary mottled calf with gilt morocco title pieces to upper and lower covers. Condition: Contemporary calf with wear but remaining attractive. Occasional dampstaining. Some scattered stains and foxing but most of the plates read as clean. Vestigi -- Jacomo Rossi unknown
1691Best.-Nr. 006985Rome: Vestigi -- Jacomo Rossi 1691. Full Mottled Calf. Very Good. Spectacular collection of plates of the architecture fountains churches streets and ruins of the Eternal City. Oblong folio. 25 by 38 cm. 198 plates four folding plus title and dedication pages. Plate count is including titles and dedications which are decorated with illustration. The first work of the five "Vestigi della Antichita" has Rococo allegorical illustrations on both the title and dedication pages and in addition to its 50 plates three additional engraved folding plates by Étienne Dupérac have been bound in. "Le Fontane" has two engraved dedication pages both richly illustrated in addition to 45 view plates. Final suite of eight plates includes a plate folding both on bottom and side. Contemporary mottled calf with gilt morocco title pieces to upper and lower covers. Condition: Contemporary calf with wear but remaining attractive. Occasional dampstaining. Some scattered stains and foxing but most of the plates read as clean. Vestigi -- Jacomo Rossi unknown books
1660Best.-Nr. 3639Rome: Giovanni Giacomo de Rossi 1660. SECOND EDITION first printed in 1606. Hardcover. Fine. With an engraved allegorical title with the main title incised within a wolf's hide hung on a monument; an engraved dedication to Matthaeus Wacker von Wackenfels numbered'1' with the text incised on a stone tablet between flanking obelisks and with two putti supporting the dedicatee's arms; and 49 full-paged engraved plates ca. 170 x 270 mm all numbered and signed 'Marco Sadeler excudit' with descriptive captions in Italian. An extremely fine broad-margined copy with very rich and clear impressions of the plates. In an attractive contemporary binding of stiff ivory vellum the boards with large central arabesques in gold framed by a double gilt rule and with floral tools at the angles and along the spine. Thirty-six of these images were copied by Aegidius Sadeler from Etienne Du Pérac's " Vestigi dell'Antichità di Roma" Rome 1575. For the other images Sadeler drew on drawings by Jan Breughel the elder and Pieter Stevens. Marco Sadeler whose name appears on the plates was an engraver and print seller in Prague in the early 1600's and probably the nephew of Aegidius. In the middle of the 17th century a copy of the 1606 edition found its way to Rome where it was copied for Giovanni Giacomo de' Rossi by Girolamo Ferri with the "Marco Sadeler excudit" preserved on each plate late variants appeared towards 1677 at the end of the career of Giacomo de' Rossi with "Marco Sadeler/ sculpsit" in place of "excudit". The monograms indicating the reworking of Ferri are visible on the plates no. 10 19 37 42 and 46. In our copy the series of views is in its earliest state as the plates 4 and 45 are unnumbered. The title plate bears the wording Marco Sadeler's "excudit." This state is not recorded in Bartsch 1978. In this series the artists have depicted the ancient monuments of Rome Tivoli and Pozzuoli as they appeared in the late sixteenth- and early seventeenth-century: crowned with vegetation half-buried by the rising ground level and encroached upon by a host of post-Roman structures. The scenes are alive with Rome's inhabitants: herdsmen mule-drivers cattle sheep and every manner of citizen. The images in which the ruins are depicted in their un-restored state and within the context of their early modern environments serve as a record of the monuments as they appeared in this period and evoke the atmosphere of daily life in early modern Rome. Sadeler and The Bay of Naples: In addition to the views of Rome the Sadeler series also includes a number of plates of ruins and views of the Bay of Naples and its environs: the Gulf of Baiae Cuma Lago Averno the Campi Flegrei Capo Miseno and the Villa Agrippina at Oplontis and other places within the confines of Pozzuoli. Giovanni Giacomo de Rossi hardcover
1660Best.-Nr. 3639Rome: Giovanni Giacomo de Rossi 1660. SECOND EDITION first printed in 1606. Hardcover. Fine. With an engraved allegorical title with the main title incised within a wolf's hide hung on a monument; an engraved dedication to Matthaeus Wacker von Wackenfels numbered'1' with the text incised on a stone tablet between flanking obelisks and with two putti supporting the dedicatee's arms; and 49 full-paged engraved plates ca. 170 x 270 mm all numbered and signed 'Marco Sadeler excudit' with descriptive captions in Italian. An extremely fine broad-margined copy with very rich and clear impressions of the plates. In an attractive contemporary binding of stiff ivory vellum the boards with large central arabesques in gold framed by a double gilt rule and with floral tools at the angles and along the spine. Thirty-six of these images were copied by Aegidius Sadeler from Etienne Du Pérac's " Vestigi dell'Antichità di Roma" Rome 1575. For the other images Sadeler drew on drawings by Jan Breughel the elder and Pieter Stevens. Marco Sadeler whose name appears on the plates was an engraver and print seller in Prague in the early 1600's and probably the nephew of Aegidius. In the middle of the 17th century a copy of the 1606 edition found its way to Rome where it was copied for Giovanni Giacomo de' Rossi by Girolamo Ferri with the "Marco Sadeler excudit" preserved on each plate late variants appeared towards 1677 at the end of the career of Giacomo de' Rossi with "Marco Sadeler/ sculpsit" in place of "excudit". The monograms indicating the reworking of Ferri are visible on the plates no. 10 19 37 42 and 46. In our copy the series of views is in its earliest state as the plates 4 and 45 are unnumbered. The title plate bears the wording Marco Sadeler's "excudit." This state is not recorded in Bartsch 1978. In this series the artists have depicted the ancient monuments of Rome Tivoli and Pozzuoli as they appeared in the late sixteenth- and early seventeenth-century: crowned with vegetation half-buried by the rising ground level and encroached upon by a host of post-Roman structures. The scenes are alive with Rome's inhabitants: herdsmen mule-drivers cattle sheep and every manner of citizen. The images in which the ruins are depicted in their un-restored state and within the context of their early modern environments serve as a record of the monuments as they appeared in this period and evoke the atmosphere of daily life in early modern Rome. Sadeler and The Bay of Naples: In addition to the views of Rome the Sadeler series also includes a number of plates of ruins and views of the Bay of Naples and its environs: the Gulf of Baiae Cuma Lago Averno the Campi Flegrei Capo Miseno and the Villa Agrippina at Oplontis and other places within the confines of Pozzuoli. Giovanni Giacomo de Rossi hardcover books
