1844 after (28 Ergebnisse)

Zustand: Good. Engraving. 19.5 x 24.8 cm. (image size). Very Good.

Zustand: Good. Lithograph. 17.2 x 14 cm. (image). 28.5 x 25.2 cm. (sheet). Very Good. Light surface soiling and water staining. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821.…

Zustand: Good. Lithograph. 15 x 19.2 cm. (image). 20.5 x 25 cm. (sheet). Very Good. Light surface soiling and specks of foxing. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821.…

Zustand: Good. Lithograph. 14.4 x 11.7 cm. (image). 21 x 18.2 cm. (sheet). Very Good. Light surface soiling. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821.…

Zustand: Good. Lithograph. 15.8 x 20.5 cm. (image). 23.7 x 28.5 cm. (sheet). Very Good. Light surface soiling. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821. …

Zustand: Good. Lithograph. 24 x 28cm. sheet size.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic referencesWinkler 1975 / Die Frühzeit der deutschen Lithographie (undescribed)Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821 (139.X.…

Zustand: Good. Lithograph. 24 x 28cm. sheet size.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic referencesWinkler 1975 / Die Frühzeit der deutschen Lithographie (undescribed)Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821 (139.X.…

Zustand: Good. Lithograph. 17.5 x 13 cm. (image). 27.7 x 22.3 cm. (sheet). Very Good. Light surface soiling. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821.…

Zustand: Good. Lithograph. 38 x 27.6 cm. (sheet). Very Good. Light surface soiling, a few specks of foxing. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821.…

Zustand: Good. Lithograph. 38.5 x 24.7 cm. (sheet). Very Good. Few light specks of foxing, some soiling on sheet verso. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821.…

Zustand: Good. Lithograph. 36.5 x 27.2 cm. (sheet). Very Good. Light surface soiling, a few specks of foxing. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821. …

Zustand: Good. Lithograph. 24 x 19 cm. (image). 31.5 x 26.2 cm. (sheet). Very Good. Light surface soiling, short tear at bottom sheet edge. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821.…

Zustand: Good. Lithograph. 36.5 x 27.5 cm. (sheet). Very Good. Light surface soiling, a few specks of foxing. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821. …

Zustand: Good. Lithograph. 38 x 28.1 cm. (sheet). Very Good. Two specks of foxing in upper left quadrant. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821.…

Zustand: Good. Lithograph. 31 x 21.3 cm. (image). 34.7 x 25 cm. (sheet). Very Good. Surface soiling on sheet verso. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821. …

Zustand: Good. Lithograph. 38 x 26.4 cm. (sheet). Very Good. Light surface soiling. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821.…

Zustand: Good. Lithograph. 23 x 19 cm. (image). 31 x 26.8 cm. (sheet). Very Good. Light surface soiling. Rare.British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic references: Winkler 1975 / Die Frühzeit der deutschen Lithographie Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821.…

Zustand: Good. Lithograph. 36 x24.4 cm. Partially mounted on a support sheet. .British Museum: Likely from 'Les Oeuvres Lithographiques, choix de dessins d'après les grands maitres de toutes les Ecoles, tirées du Musée de S.M. le roi de Bavière par Strixner, Piloty et Cie'. It was produced under the sponsorship of Aretin and von Mannlich. It was directed and mostly made by Strixner and Piloty, and was published by J Stuntz in Munich in 72 parts each of 6 sheets, with 432 prints in total, between 1810 and 1816 (so Düssler: no complete copy is recorded in London, and the BM only has oddments from it). It was followed by the separate series of plates after paintings, the 'Königlich Bayerischer Gemälde-Sammlung zu München und Schleissheim' in 1817-24. See Wolfgang Wegner in 'Oberbayerisches Archiv', 87 1965, pp.139-79.Bibliographic referencesWinkler 1975 / Die Frühzeit der deutschen Lithographie (undescribed)Dussler 1955 / Die Incunabeln der deutschen Lithographie 1796-1821 (139.X.1).…

original Etching, / Radierung, 22 x 20 cm, 38 x 28 cm, aufgewalztes Chinapapier de 500 Grafik.

original copper engraving, Kupferstich, 22 x 15 cm, aufgewalztes Chinapapier de 500 Grafik.

original Etching, / Radierung, 22 x 16,5 cm, 38 x 28,5 cm, 28,5 x 38 cm, aufgewalztes Chinapapier de 500 Grafik.

Zustand: Good. Print of Etching. 17 x 28 cm. (Overall dimensions) 20 x 11.5 cm. (Print measurements). Very Good. En Francais.Provenance:Colette Monceau, born Nancey (1921-2016). Biographical note: born in Nice in 1921, Colette Monceau was a student of Charles Dullin in the second half of the forties and played in several plays during the same period. At the end of the 1950s, she took courses at Pierre Foix's school of graphology in Paris and worked in particular on dance as part of the exam for the Group of Consulting Graphologists of France. Having become a consultant graphologist, she also teaches this technique. Particularly interested in the writings of Louis Jouvet and Sarah Bernhardt, she wrote three works that remained unpublished, as well as several articles. It constitutes a thousand files devoted to actors and actresses, as well as personalities from varied backgrounds. Colette Monceau, née Nancey (1921-2016). Notice biographique : née à Nice en 1921, Colette Monceau est élève de Charles Dullin dans la seconde moitié des années quarante et joue dans plusieurs pièces à cette même période. À la fin des années cinquante, elle suit les cours de l'école de graphologie de Pierre Foix à Paris et travaille notamment sur la danse dans le cadre de l'examen du Groupement des graphologues conseils de France. Devenue graphologue-conseil, elle enseigne également cette technique. S'intéressant notamment aux écritures de Louis Jouvet et de Sarah Bernhardt, elle rédige trois ouvrages restés inédits, ainsi que plusieurs articlesExpertise by Daniel BRUKARZ Expert auprès de la CEA. Paris.…

No binding. Zustand: Good. New York: Joseph Stanley & Co. 1836. Uncolored aquatint (22 x 30 ½ inches) showing the intersection between Broadway and Canal Street. CONDITION: Some frayed edges, tears, and perforation in left margin, mat burn. Niblo's Garden was located on the northeast corner of Prince Street and consisted of a theater, hotel, and garden with walks and flowers. Curiously, it is not shown in Horner and Hill's print.…

Half-length portrait of Michiel de Ruyter in armour. He's holding a sword in his right hand. Inscription in French below the portrait: 'MICHEL ADRIAN RUYTER / Chevalier et lieutenant- Admiral des Provinces Unies des Pays-bas né à Fliessingen,1607 mort 1676 / Dédié a Son Altesse Serenissime Monseigneur / Guillaume Frédéric Prince Héréditaire d'Orange et de Nassau / L'Original se trouve dans la Gallerie / Ducale de Bronsvic à Salzthal - par son très humble et très obeissant / serviteur Schroeder' signed just below the portrait: 'Peint par Rembrandt van Rijn / Gravé à l'Eauforte par Schroeder 1789' l Etching on paper with margins; plate mark: 219 x 164 mm, total: 226 x 175 mm.…

Five man at a window still, drinking and smoking. Signed on bottom: 'Ostade p. / C. Closin s.' possibly from a publication, since the plate is numbered on top left: 'Pl. 4'; 19th century paper l Etching on paper, trimmed to plate mark; total: 294 x 249; cooked paper, some damp stains and traces of previous mountings on verso.…

A Frisian horse standing in a field, against a darkening sky. A church village in the distance on the right.Copy after one of the five etchings of the horses by Potter, probably by Ignace-Joseph de Claussin (1766-1844). These prints are to represent different seasonal stages, namely early spring, late spring, summer, fall and winter, and stages of life.Signed and dated at bottom right: Paulus Potter f. 1652.[NL] Een Fries paard staand in een landschap. Gemaakt door Ignace-Joseph de Claussin naar Paulus Potter. Etching on laid paper, cut within plate; total: 152 x 230 mm; some light rubbing due to handling, otherwise in fair condition. Mounted on cardboard and in cardboard passepartout. Copy of the third state. Hollstein 9 (copy). …

Two scenes replicating two engravings illustrating the 1877 edition of François Guizot's L'histoire d'Angleterre depuis les temps les plus reculés jusqu'à l'avénement de la reine Victoria (vol. 1). These are the plate titled: Marie Stuart jure quelle n'a jamais cherché la mort d'Elisabethon p. 605, and the following plate titled: Élisabeth se leva et donna un soufflet a son insolet sujet on p. 617.The first scene sees Mary Stuart, Queen of Scots (1542-1587) on the right, rising from a seat where she has been reading, her ladies beside her in attitudes of distress, looking graciously to left towards the lords who bring her news of her impending execution, one of them holding a scroll, with fully armed guards following. As the caption of the illustration reports, Mary swore she did not conjure against Elizabeth, swearing by holding her hand on the New Testament she was reading from.The other scene depicts Elizabeth I of England (1533-1603) striking her favourite Robert Devereux, 2nd Earl of Essex (1565-1601), when she found him guilty of treason. He was then put on trial and eventually sentenced to death.The artist realizing the sculpted scenes copied the positions of the characters especially. The background is remarkably detailed. The characters act in highly decorated interiors, with walls covered in tapestries and painted ceilings.There are two other such panels preserved in England, at Rufford Old Hall, Lancashire, invv. 784781.1 and 784781.2. The first of the two can be associated with the plate titled: George Douglas tira le poignard de Darnley et trappa le secrétaire (p. 567), whereas the second, representing Shakespeare visiting Elizabeth at court, is not present in the volume. Bas-reliefs realized in wood, covered in gesso (plaster) and coated with paint to mimic the texture of ivory. Within black wooden frames; total: 420 x 310 mm. In good condition. …

Copies of the second and third states of the well-known series of five etchings of the horses by Potter, probably by Ignace-Joseph de Claussin (1766-1844). These prints are to represent different seasonal stages, namely early spring, late spring, summer, fall and winter, and stages of life.Complete set bound together in blue paper, with annotation:'Vente de Rigal en 1817 (.)' and a note with description in French on the inside.Sold at the sale of the Count of Rigal in 1817 as a suite of copies in Lot 635 in the 'Catalogue raisonné des estampes du cabinet de m. le comte Rigal', p. 288-289. In the catalogue these prints are praised for their similarity to the originals: same direction but smaller in size. Etchings on 18th century paper, 154 x 233 mm; watermark: Selignat & bunch of grapes.…