10 930 résultats
1 Blatt. Ca. 285:242 mm. Dargestellt ist ein einfaches bäuerliches Gebäude aus Holz und Stein mit umgebender Vegetation. Zusätzlich ist die Zeichnung mit einem Doppelrahmen in Bleistift versehen. Die Zeichnung dokumentiert die künstlerische Ausdrucksweise Elisabeths als junges Mädchen, der späteren Kaiserin von Österreich ("Sisi"), die ihre Kindheit in Bayern verbrachte und in jungen Jahren in Schloss Possenhofen am Starnberger See lebte. - Minimal braunfleckig. Aus Wittelsbacher Besitz. Die Zuordnung zu Elisabeths Hand erfolgte durch Stilvergleich mit eigenh. signierten und datierten Zeichnungen Elisabeths, die in demselben Konvolut beilagen.
1 Blatt. Ca. 190:227 mm. Die Zeichnung zeigt ein einfaches Gebäude, ein Gehöft aus Holz und Stein an einem Bach, und ist auf der Verso-Seite eigenh. bezeichnet und datiert in Tinte mit "Elise / Possenhofen 24. August 1848" und zusätzlich mit einem Doppelrahmen in Bleistift versehen. Das Blatt dokumentiert die künstlerische Ausdrucksweise der neunjährigen Elisabeth, der späteren Kaiserin von Österreich ("Sisi"), die ihre Kindheit in Bayern verbrachte und zur genannten Zeit in Schloss Possenhofen am Starnberger See lebte. - Minimal finger- und braunfleckig und mit kaum sichtbaren Spuren einer alten Quetschfaltung am rechten Rand; papierbedingt leicht gebräunt. Aus Wittelsbacher Besitz.
Single sheet, ca. 191 x 232 mm. The drawing shows a simple farmhouse built of wood and stone, signed and dated in the artist's own hand on the verso: "Elise. 1848". At the time, Elisabeth, later famous as "Sisi", Empress of Austria, was ten years old and lived at Possenhofen Castle on Lake Starnberg. - Minor stains and a little browned. Provenance: House of Wittelsbach (former Royal Family of Bavaria).
Gouache on paper, ca. 32 x 45 cm (sheet dimensions ca. 41.5 x 52 cm). Meticulous panoramic view of the bay, shoreline and city of Naples from Santa Lucia in the west to Mount Vesuvius in the east. The foreground shows fishing boats and other small vessels as well as a paddle steamer flying the French flag and a U.S. navy barque. - Margins tinted in grey wash, showing some light staining and a few tiny holes, caption title lettered in pink. The vividly coloured view is perfectly preserved. - Provenance: near-contemporary ink annotation on verso "Naples / Magasin de Beaux Arts / Place Cappella a Chiaja No. 6 / Sous le Palais Partanna / Tenú par Gaetano Calvi". Sold in 2015 through Holger Christoph, Bonn (sale 38, lot 411) to a German private collector and subsequently through Dobiaschofsky in Berne (2018) and Zisska in Munich (2021). A comparable, likewise unsigned example is held by the Bibliothèque nationale de France (dept. Estampes et photographie: "Napoli da Posilippo", Smith-Lesouëf 7277). For the painter Giuseppe Scoppa and his family cf. R. Rinaldi, Pittori a Napoli nell'Ottocento (2001), p. 247. See also Thieme/Becker XXX, 1936; Comanducci V (1974).
120:200 mm. Auf Kartonträger montiert (350:445 mm). Beiliegend eine Ansicht der Via Flaminia (185:282 mm), auf gleichformatigen Kartonträger montiert. Hübsche, unsignierte Ansichten der italienischen Hafenstadt Castellamare di Stabia am Golf von Neapel, darunter zwei Darstellungen der ehemaligen königlichen Residenz Reggia di Quisisana, die im 18. Jahrhundert durch die Bourbonen renoviert wurde und 1878 vom Haus Savoyen in Gemeindebesitz überging. Die übrigen Zeichnungen zeigen den Blick von Vico Equense über Castellamare, mit dem rauchenden Vesuv im Hintergrund, eine Ruine sowie den Hafen von Castellammare. Beiliegend eine Zeichnung der Via Flaminia in Rom. - Wohlerhalten.
Engraving in original hand-colour. 16 x 13 cm (sheet dimensions: 30 x 21 cm). Matted. A rare engraving showing the Indian priest Aaron, the first converted native preacher of Malabar, dressed in white cloth and presenting to the viewer two pages from the Acts of the Apostles in Tamil. The Tamil Bible translation was famously published in 1713 by the Saxon missionary Bartholomaeus Ziegenbalg, who had been posted to the Danish colony of East India (Malabar) in the early 18th century. A nearly half-page letterpress text below the engraving elaborates on the conversion and life of Aaron, who was born ca. 1699, baptised in 1718, and ordained in 1733. - The engraver and botanist J. S. Müller (1715 - ca. 1792), known as John Miller in Britain, was born in Nuremberg, where he trained under Johann Christoph Weigel. He came to England in 1744 with his brother Tobias - an engraver of architecture - and remained there the rest of his life, producing several important botanical works and apparently also forging several oil paintings for London's appreciative art market. - Traces of folds; insignificant duststains to margins.
Original watercoloured pen-and-ink drawing, trimmed to ink borders, signed and dated by Raimo. 253 x 192 mm. Matted (432 x 362 mm). Early watercoloured drawing of a grocer selling his produce in the port of Naples, at the beginning of the main pier leading up to the old lighthouse (lanterna del molo), with Vesuvius in the distance giving off a faint cloud of smoke. On the right a housewife is seen haggling with the merchant over cucumbers, while on the left a mother is handing her daughter a bunch of Welsh onions. Signed "Raimo inv. et fece 1818". - Some brownstaining, but still a very charming view.
Original watercoloured pen-and-ink drawing within ruled ink borders, sheet size 347 x 275 mm. Matted (510 x 400 mm). Charming, early watercoloured drawing of a Neapolitan street vendor of maccaroni. Unsigned and undated, but attributable by its style to the Neapolitan artist active ca. 1820 who signed some of his works "Raimo". - Margins a little dust-stained, but very attractive.
13 original drawings in various techniques: pencil, watercolour, gouache, and ink on paper. Mostly captioned in German (and a few in Italian), mounted on 12 leaves of coloured paper bound in an album. Contemporary red morocco, both covers plated with relief-stamped luxury cream paper, splendidly ornamented with the arms of the British monarchy and the City of London, bordered with gilt floral dentelle; central compartments calligraphed in red and gilt: "Louise" / "30. Mai 1857". White moirée endpapers. All edges gilt. A splendid album of ethnographic portraits, possibly intended as templates for the nine-year-old Princess Louise, Duchess of Argyll (1848-1939), the sixth daughter of Queen Victoria and Prince Albert of Saxe-Coburg and Gotha, and like her mother a highly accomplished artist at an early age. The meticulous and detailed drawings show representatives of various peoples of the world, some in half-length and others in full figure, mostly captioned in a German hand: three Australian Aborigines ("Neuholländer", "Vandiemens-Länder" [from Tasmania], "Aramanga" [from Queensland]), two native Americans from North America ("Nordamerikaner", "Eingeborener vom Oregon"), a Filipina, a Hawaiian, an Indian Brahmin, two orientals (a tea-seller and a scribe), a female African slave, a mongolian ("Sifan"), and another, unidentified Asian. All pictures would appear to be copied from 19th century travel publications; three are obviously based on plates from James Cowles Prichard's "The Natural History of Man" (London 1843). - Album's corners lightly bumped; paper and paints clean and crisp throughout. Other early drawing and scrapbook albums compiled for or by Princess Louise are kept in the Royal Collection.
Folio (290 x 388 mm). 12 matted portrait etchings, individually numbered and signed by the artists as well as the sitters. Stored in publisher's original portfolio with vellum spine and gilt title to papered boards. Number 33 of 50 copies of the deluxe issue (entire press run: 150), each portrait bearing the additional signature of the sitter. The sitters are Lovis Corinth, Albert Einstein, Sigmund Freud, Gerhart Hauptmann, Wolfgang Heine, Ludwig von Hofmann, Arno Holz, Arthur Nikisch, Wilhelm Ostwald, Max Reinhardt, Richard Strauss, and August von Wassermann; the artists were Eduard Einschlag, Friedrich (Bedrich) Feigl, Ivo Hauptmann, Ernst Oppler, Robert Friedrich Karl Scholtz, and Walter Zeising (one etching each) as well as Hermann Struck (six etchings). Gerhart Hauptmann's portrait is by his son Ivo. - Upper cover of the portfolio very slightly warped. Light browning or foxing to versos of mattes; rectos and etchings all nearly perfectly clean and crisp. Extremely rare: libraries record a single copy of the sequel ("Köpfe 1921"), a series of only nine portraits that the publisher issued the following year (National Library of Israel).
Large folio (ca. 64 x 49 cm). Title-page with etched, coloured and pasted vignette plan of the Church of the Holy Sepulchre, 4 pp., and 14 lithographs by Albert Adam, Charles Claude Bachelier, Hubert Clerget, Charles Fichot, and Jules Gaildrau after F.-E. Pâris (12 printed in colour). Stored loosely, as issued, in original paper wrapper with title and modern brown half cloth portfolio with white cloth ties and giltstamped title lable pasted to upper cover. Elaborate album of lithographs based on drawings by Vice Admiral François-Edmond Pâris from a visit to the holy city in 1861. The album follows his itinerary as described by Pâris in the introductory text. Leading his squadron from Jaffa to Jerusalem, Pâris drew a charming scene of pilgrims gathering at the fountain of Abu-Nabbut. Before entering the city, he captured an impressive view of Jerusalem from the Mount of Olives. 52 important sights are marked in the uncoloured lithograph and described in the text. The view of the city is followed by impressions of Christian places of worship such as the Holy Grave, the Prison of Christ, and the Chapel of Saint Helena in the Church of the Holy Sepulchre, the Tomb of the Virgin Mary, the Grotto of the Nativity in nearby Bethlehem, and an unusual, uncoloured view of the interior of the Golden Gate (Gate of Mercy). The final three lithographs present two beautiful interiors of the Mosque of Omar and one of the Al-Aqsa Mosque. All sights depicted are described in the text. - François-Edmond Pâris (1806-93) commanded the 2nd Division of the French fleet in the Mediterranean when he visited Jerusalem. Leading primarily scientific missions, Pâris was a talented draughtsman who took an interest in naval architecture, steam engineering, and geography. Today Pâris is considered the father of modern maritime ethnography; he played an important role in the modernisation of the National Maritime Museum in Paris. - Original paper wrapper rather wrinkled with some repaired tears and restored loss to corners. Title-page a little stained; several tears to margins professionally repaired. Lower right corner of the first text-sheet repaired without text loss. Lithographs generally well preserved, but some lightly affected by stains in the margins; occasional tears to the sheets and corners restored, not affecting the illustrations. Blackmer 1255. Röhricht 2762. Tobler 231.
Oblong folio (400 x 320 mm). 93 pp. A privately compiled album comprising 138 engravings, either full-page or as four smaller engravings to one leaf, mostly hand-coloured. Includes one watercolour, signed "Fedor Comte Karaczay, Wien 1822". All mounted on brown paper with black borders, mostly with manuscript captions in French and watermarks to tissue guards. Contemporary red morocco, finely decorated with gilt borders; gilt title to upper cover, metal clasp fastening with key. Green silk guards. A charming album comprising numerous views of Vienna's grand buildings, palaces, and parks as well as landscapes of the surrounding areas. Notable sites of the Austrian capital are depicted in all their splendour, including Klosterneuburg monastery, the Kohlmarkt, St Stephen's Cathedral, and the Circus Gymnasticus in the Prater park. - Landscape views of Leopoldsberg, the route to Mariazell, and the nearby spa town of Baden are presented in all their idyllic majesty, as are lively social scenes of the Habsburg Empire's carnivals and café culture. The ensemble also includes 13 plates of professions and three military figures, one of which is a watercolour by Fedor Graf Karaczay (1787-1859), an Austrian colonel and dilettante artist, later in Persian services. The occupations include lantern lighter, laundry woman and hawkers selling brushes, apples and honey, straw hats, ribbons, carpets and laurel leaves. - Some minor staining. Tissue guards and covers somewhat worn, but otherwise a fine work.
4to (ca. 173 x 233 mm). Engraved portrait. Executed by the French engraver and publisher Baltasar Moncornet (1600-68), the portrait shows Osman, the son of Sultan Ibrahim I, who was captured with his mother by the Maltese fleet in 1644 and educated by the Knights of Malta to become a Dominican friar. As an adolescent he was baptized and adopted the name Dominique de Saint-Thomas on 23 February 1656. He studied in Naples and Rome and went to Paris in 1664, where he spent two years. In 1667 he travelled to Candia on Crete, a Venetian-ruled city besieged by Ottoman forces since 1648, on an unsuccessful mission to convince the latter to make peace. Appointed vicar general on Malta around 1669, he returned to the island, where he spent his final years. - Slightly foxed.
Jeweils ca. 215 x 336 mm. Aquarell bzw. Gouache mit Goldhöhung auf Papier. Auf Fälzen unter Passepartout montiert. Vier wohl noch dem 16. Jahrhundert angehörende Idealbildnisse aus einer Porträtserie der frühen Grafen von Zollern, wie sie um 1560 Basilius Herold im Auftrag von Karl I. von Hohenzollern prägte und die Frühneuzeit hindurch weitgehend akzeptiert blieb. "Da die Grafen von Zollern erst 1061 mit Burchard ins Licht treten und erst [... Friedrich III.] die Würde eines Burggrafen von Nürnberg erwarb, handelt es sich um ein Produkt späthumanistischer Geschichtsklitterung. Der Zollerschen Hauschronik zufolge war die entsprechende historische Forschung ein Gemeinschaftswerk Graf Karls I. aus der schwäbischen Linie (1516-76) und des Historikers Johann Basilius Herold. Damals müssen auch die Idealbildnisse der ersten Grafen geschaffen worden sein, die sich formal mit rekonstruierten Ahnenreihen, etwa der Wittelsbacher, aus dieser Zeit vergleichen lassen" (Haus der bayerischen Geschichte, online). - Es liegen vor: Danko (840), der angebliche Sohn des fingierten Stammherrn Tassilo, Rudolf (892), Friedrich I. (980) und Eitel Friedrich II. (1273). Die Grafen werden jeweils in Prachtrüstung unter einem Säulenbogen dargestellt; an den Säulen prangen in hübscher Gouache das Hauswappen der Zollern sowie das der jeweiligen Ehegemahlin (von Cilli, von Rieneck, von Hohenberg und von Schlüsselberg). In einer Kartusche unter dem Portrait jeweils eine mehrzeilige handschriftliche Beschreibung des Abgebildeten nebst Nennung der Ehegemahlin. - Hübsche, wohlerhaltene Folge.
52,1 x 39 cm. Copperprint engraving on paper (two conjoined sheets). Beautiful copy of the famous south-west view of the Strasbourg Cathedral by Daniel Specklin from 1566. Some minor changes to the original print concern small architectural changes to the building itself, such as the helmet of the ridge turret, the staffage figures, and the monumental cartouche with the text, marking the transition from late Renaissance to early Baroque ornaments. The German text offers a partly legendary building history of the famous north tower. An additional text directly underneath the seam of the two sheets is a dedication to the dignitaries of the city: “Nobilissimis, amplissimis, prudentissimis Dominis, D. D. Praetoribus, Consulibus, Reliquisq[ue] inclusae Argentinae Senatoribus, Patribus Patriae, Patriam hanc turrim humiliter offert, consecrat, dedicat Isaac Brunn Argentine(n)sis chalkiographos A(nn)o 1615”. - Born in Strasbourg, Isaac Brun (1596-1669) worked primarily as a portraitist and book illustrator. - Upper margin somewhat brittle and with several tears, one larger tear showing traces of unprofessional restoration. Right border of the cartouche chafed. With a pinch fold affecting the dedication and a restored tear affecting the image in the lower right margin. Trimmed on the upper and lower margins, some browning. Thieme/Becker V, 121 (biography). Drugulin I, 291.
3 Bleistiftzeichnungen (230 x 285 - 235 x 365 mm), 1 Ölzeichnung (190 x 200 mm) und 1 Druckgraphik (225 x 305 mm). Wasserzeichen teils "J. Whatman 1832". Unter 3 Passepartouts. Hübsche, sehr sorgfältig ausgeführte Studien einiger Grabplatten in einer nicht ermittelten gotischen Kathedrale, darunter die eines Bischofs sowie eines wohl adeligen Ehepaars (letztere datiert 1639). Wohl Vorzeichnungen zu einer Malerei, dazu ein handschriftlicher Kommentar: "Der Stein sehr warm und die Wappen kalte Glanzlichter". Die Druckgraphik zeigt den Kirchenraum mit einem von einer Säule teilweise verdeckten Epitaph und zwei Rosettenfenstern. - Wohlerhalten.
Seidendruck auf Papier aufgezogen. 143:215 mm. Auf Kartonträger (250:330 mm) montiert. Verso der Sammlungsstempel "F.G.M." mit Grafenkrone.
255 x 180 mm. Copperprint engraving, cut, hand-coloured and dressed with several fabric fragments, some with metallic threads, metallic lace details, and ground glass. Stitched at an early date to a ruled paper mount. Later giltwood frame and glazing with framer’s label ("Collard Doreur sur bois. Versailles’", ca. 1830-40). Striking and well-preserved example of a so-called "dressed print", based on a devotional engraving of Mary Magdalene by the German engraver and publisher Martin Engelbrecht (1684-1756), dating to the mid-18th century. The materials and style of the adornments point to the 18th century, though a later reuse of older fabrics cannot be ruled out. As often, the dressing has been ingeniously applied both under and over the surface of the original engraving. The penitent Mary Magdalene has been modified by being pasted onto glazed paper, producing a dramatic black-sky background, her body is embellished with three different brocade fabrics (two with metallic threads), and the print was further enhanced with hand-colouring, some metallic lace and ground glass. The saint is characterized by her traditional attributes of a cross, a book, a myrrh jar, a straw mat, and a skull, while her left foot rests on a globe or orb. The precious clothes that were added to Mary Magdalene, who is usually just covered by her long open hair as an expression of her ascetism and atonement, almost transforms her into a celestial Mary, thus altering the meaning of the engraving. - The fashion for dressing prints existed probably from the beginning of printed illustrations themselves, though it was a widespread, predominantly female recreation, especially in nunneries and convents, during the 17th and 18th centuries. Dressed prints were often overlooked by art historians and, due to their fragile nature, are rarely preserved in such good condition.
Ca. 114 x 160 cm (map size; visible size ca. 131.5 x 177.5 cm). Engraved. Framed and glazed in broad burl wood veneer frame with insignificant damage (141 x 187.5 cm). Monumental reconstructive map of ancient Syracuse and its surroundings from Vincenzo Mirabella e Alagona's famous 1613 publication "Dichiarazioni della pianta dell'antiche Siracuse", dedicated to Philip III of Spain, King of Sicily. The map covers a large area, roughly from the island Ortygia, the historical centre of Syracuse, to the Euryalus fortress, and from the source of the river Ciane to the so-called House of Archimedes, and shows often fantastical renderings of such important monuments as the Temple of Apollo, the Greek and Roman theatres, and the ancient quarries called Latomie, including a staffage of fantastical ships. - The ornamental border, featuring reproductions of the obverse and reverse of 39 Greek coins, was specially engraved and described for the publication. Many of the coins of the notorious tyrant Dionysius I of Syracuse and subsequent rulers show the famous triskelion composed of three bent knees, a symbol which today forms part of the flag of Sicily. The dedication of the book to Philip III of Spain is repeated in an inscription with the title of the map and the name of its author. The dedicatee is also represented by the monumental coat of arms in the upper right corner of the map. The nine copperplate engravings are signed by the otherwise unknown Francesco Lomia from Syracuse and are dated 1612, but the plates were published with the book in 1613. - Vincenzo Mirabella e Alagona (1570-1624) was a historian, archaeologist, and architect from Syracuse. He married into one of the leading families of the city, held public offices, and realized several building projects, such as the Theatine Church of San Andrea and the renewal of the cathedral square. In 1608 he accompanied Caravaggio on several visits to the Latomie. The painter subsequently coined the name “Ear of Dionysius” for one of the ancient quarries, which is still in common use. - Generally well preserved, with small chafed areas to some plates, one of which with hand-drawn additions, and some stains.
271 x 208 mm. Blue ballpoint on laid paper. Portrait of the Swiss publisher Albert Skira (1904-76), dated and inscribed with the dedication: "Pour ces 25 ans d'éditions et 30 Ans d'Amitié. Picasso". The expressive profile of Skira, including parts of his shoulders and one arm, is representative of Picasso's sketchy and graphic art oriented late style. It is the last of seven numbered portraits of the publisher that Picasso drew on the evening of 16 September 1953 in the booth of a restaurant in Golfe-Juan. - Skira "played an important role in Picasso's life in that in the fall of 1930 he commissioned him to illustrate Ovid's Metamorphoses. Picasso achieved surrealist transformations in an admirably classical graphic style [...]. This was one of the reasons that led Vollard to commission him to produce what was to become the Vollard Suite. Skira subsequently offered him another opportunity by creating, in 1933, the splendid magazine 'Minotaure': for the cover of the first issue, Picasso created a virtuoso collage" (cf. Pierre Daix, Dictionnaire Picasso). - With original fold mark and insignificant tears in the fold. An unrelated note in ink on the verso reads: "Vauthier baryton".
Ca. 676 x 480 mm to 755 x 523 mm. Coloured etchings on paper. Partly heightened in gold and silver. Two of the prints mounted on canvas. Rare supraporte prints from the famous publishing house Remondini, depicting four episodes from the biblical Parable of the Prodigal Son. In the sequence of the biblical narrative, the etchings with legends in Spanish and Latin show the Prodigal Son collecting his share of the inheritance from his father, the Prodigal Son leaving the parental home, the Prodigal Son being reduced to serve as a swineherd after he squandered his fortune, and the reconciliation with his father following his desperate return home. The beautiful coloured etchings are wholly Rococo in style, from the large ornamental frames to the opulent clothing of the protagonists and decor within the scenes. Embracing the timeless character of a parable, the 18th century viewers were supposed to identify with the protagonists and have their taste in Rococo ornaments met. - The house of Remondini was founded in Bassano del Grappa by the merchant Giovanni Antonio Remondini (1634-1711) and was successfully expanded by his son Giuseppe Remondini (1672-1742). Apart from prints and books, Remondini produced decorated papers for various uses and wallpapers. In the 18th and early 19th centuries, Remondini was among the largest print publishers of Italy. The supraportes with the Prodigal Son are a beautiful example of the large portfolio of the company and its international market. - With occasional stains and some foxing. The return scene shows old restorations due to water damage, leaving some areas brittle, especially in the lower margin, and causing minimal losses to the print. The departure scene shows two small defects.
Ca. 167:128 mm. Kupferstich. Paginiert und mit gest. Numerierung "32". Montiert auf Trägerpapier (323:476 mm). Bukolische Szene mit einer kleinen Ziegenherde, im Hintergrund ein lagernder Hirte, im Vordergrund eine von einem Gebüsch zupfende Ziege, signiert "C. Saft Leven". - Mit Stempel der "Graphischen Sammlung" von Georg Denzel (1873-1959), unter Sammlungsnr. "3195 Nr. G" aufgenommen. Die Graphik zudem verso mit Sammlungsstempel des Prof. Wilhelm Denzel "G + W D". - Leicht braunfleckig.
52,8 x 37 cm. Woodcut on paper (two conjoined sheets). Rare pirated copy of the famous south-west view of the Strasbourg Cathedral by Daniel Specklin (1536-1589). A "Matthias Huebner" from Schneeberg in Saxony, who is presented as the author of the print in the modified text in the strapwork frame to the right ("Matthias Huebner Schnebergensis faciebat Argent. Cal. Ian M. D. LXVI"), has not been identified. The monumental view of the Cathedral, including the staffage figures and the strapwork cartouche with the date, correspond with the original published by Bernhard Jobin in Strasbourg (as depicted in Hollstein). - Trimmed, insignificant marginal damage, two restored tears on the left. Smoothed, slightly soiled, somewhat toned. Hollstein LXXIII, 67, 1 (with illustration on p. 66). Strauss, German single-leaf woodcut, III, S. 975, I (of II; with fig. II). Cf. Passavant III, p. 350f. Drugulin I, 290f. Bartsch IX, 303, 1.
Ca. 477 x 326 mm (neat line). Etching on paper. Only known specimen of an anonymous copy after Georg Daniel Heumann’s monumental 1735 copper print engraving based on a design by Salomon Kleiner, with additional portraits of Empress Maria Theresa and the later Emperor Joseph II and his wife. This faithful, though qualitatively inferior copy was probably made on the occasion of the wedding of Archduke Joseph of Austria and Princess Isabella of Parma on 6 October 1760 in Vienna. The couple is shown in a double portrait presented by a crowned eagle flying on the right side of the tower. They are opposed by a similarly presented profile portrait of Maria Theresa on the left side. Superimposed, the two medallion-bearing eagles would form the double-headed Habsburg eagle. - Joseph's first and happiest marriage lasted only three years, as Isabella died of smallpox on 27 November 1763 at the age of 21, leaving behind a devastated widower. 1763 is thus the latest possible date for the creation of this beautiful etching. - Good impression with some minor stains and a larger brown stain to the upper left margin.
Handkolorierter Kupferstich (100 x 120 mm), Blattmaß 125 x 193 mm. Unter Passepartout. Hübsche Ansicht der Brunnenstube, die im Zuge des Baus der Albertinischen Wasserleitung 1804 in der Nähe der Otto-Wagner-Villa in Wien-Hütteldorf errichtet wurde. Tafel Nr. 49 aus dem 1812 von Maria Geissler publizierten Ansichtenwerk "Collection de vues des principaux palais, eglises, bâtimens publies, campagnes & jardins tant de Vienne [...]". Mit Legende in deutscher und französischer Sprache sowie der seltenen Verlagsadresse "Graben No. 1200". - Die Albertinische Wasserleitung war das erste Wasserleitungsprojekt in der Geschichte der Wiener Wasserversorgung mit weiträumig angelegtem Rohrnetz. Sie wurde 1804 fertiggestellt und bis 1890 betrieben. Cf. Nebehay/Wagner 193.