after 1801 (33 Ergebnisse)

Single Sheet. Zustand: Very Good. No Jacket. J SMITH (illustrator). First Edition. LLANERCOST PRIORY, A FINE ETCHING BY MOSES GRIFFITH AFTER THE PAINTING BY J SMITH, ETCHED IN 1801 VERY GOOD CONDITION, MEASURES 4.25 X 2.75 INCHES, INCHES, MOUNTED AND READY TO FRAME, WE PACK VERY WELL, SPLENDID VALUE.

No Binding. Zustand: Very Good. 1st Edition. Original Engraving, Trimmed To Near The Image. Part Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Daniel Niklaus Chodowiecki (1726 -1801) Was A Polish?And Later German?Painter And Printmaker With Huguenot Ancestry, Who Is Most Famous As An Etcher. He Spent Most Of His Life In Berlin, And Became The Director Of The Berlin Academy Of Art. In A Letter To Józef ??cki, The Polish Astronomer, He Wrote: "I Consider It An Honour To Be A Genuine Pole, Even Though I Am Now Living In Germany". Because Of His Mother's And His Wife's Huguenot Descent He Was Very Close To The Huguenots Of Berlin. Nearly All His Life And Career Was Spent In Germany, Writing In German And Living In Berlin From The Age Of Almost 17. .

Scenic performance in the new Amsterdam Theatre (Theater Amsterdam) with the scene titled: 'De Hollandsche Straat' [The Dutch street], with scene from the play 'De Listige Vryster', or 'De Verschalkte Voogd'. Titled at the bottom: 'DE HOLLANDSCHE STRAAT.' l Engraving on paper, trimmed within plate mark, pasted on thick paper; total: 210 x 254 mm; worm hole in the sky, slightly browned on the margins.

View on the east wing of the Oranjezaal in Huis ten Bosch in The Hague with the representation of the triumph of Fredrik Hendrik on a cart led by four white horses. The original painting was ultimated in 1652. On the left two visitors in nineteenth century attire. Lettered below: 'ORANJEZAAL / OOSTKANT. / IN HET HUIS 'T BOSCH TE 'S GRAVENHAGE. / Gedrukt door J.F. Brugman' Signed on the bottom of the picture left and right: 'T.C. Bruining del. / F. Molenaar sculps.' l Etching and engraving on paper trimmed within plate mark, pasted on cardboard; total: 244 x 482 mm; state II/2, some slight tears and foldings along the margins, otherwise in very good conditions.

Zustand: Good. Engraving on wove paper. 22.5 x 30 cm (sheet). Good, light specks of foxing in the margin areas.

Bust portrait of Kenau Hasselaer turned towards the left, in oval frame. According to the legend, Hasselaer played a crucial role in the liberation of the city of Haarlem from the Spanish siege in 1573. Before the inscriptions below.The later state used as illustration in Jacobus Kok's: 'Vaderlandsch woordenboek : met kaarten, plaaten en pourtraitten'. Amsterdam: Johannes Allart, 1785-1796. Vol. XX. Etching and engraving on paper, trimmed to plate mark; total: 158 x 99 mm; proof print; in good condition.

Dorpsgezicht met Nederlands Hervormde Kerk te Sloten en Stadsgezicht met Overtoom te Amsterdam, Carel Frederik Bendorp (I), after Jan Bulthuis, 1786 - 1792. Engraving on laid paper, pasted on a cardboard passepartout with golden edges, total: 120 x140 mm. In good condition.

Johan van Oldenbarnevelt before his execution on the 13th of may 1619. Sustained by Jan Francken he gets in front of the audience iin the foreground. Lettered on the bottom:'JOHAN VAN OLDENBARNEVELD KOMT / OP DE SCHAVOT.' signed below:'J. Buys inv e delin.' and 'Rein.r Vinkeles & C. Bogerts sculp.'; above on the right:'VII.D.Pl.II.' Etching on paper; total: 143 x 83 mm; Atlas van Stolk 1413, Atlas van Stolk 9.

Title-page with vignette representing a personification of Freedom handing to a putto a piece of paper reading: "M.A. / DE / RUYTER". On the background ships sailing. After a drawing by Jacob Buys, engraved by Renier Vinkeles. The title reads: "M. A. DE RUITER, / IN X BOEKEN. / DOOR / A. LOOSJES, PZ. // TE HAARLEM en AMSTERDAM, / By / A. LOOSJES, Pz. en W. HOLTROP. / MDCCLXXXIV." Signed under the vignette: "J. Buys, delin en R. Vinkeles sculp. 1784" l Etching and engraving on paper; total: 269 x 215 mm.

Portrait of Michiel de Ruyter in a medal, on the bottom a vignette with cannons and flags. Inscribed on the circular frame of the coin: 'MICHIEL ADRIAANSZ DE RUITER', signed on the bottom: 'J. Buys inv. et delin. / Rein.r Vinkeles & C. Bogerts sculp.'; above on the right: 'IX.D.Pl.VIII.' l Engraving and etching on paper with margins; total: 137 x 92 mm; on the left signs of the original binding.

View on the Huis Ten Deil, Wassenaar. Total: 110 x 143 mm. Original etching on laid paper. Mounted in orange passepartout.Used in: C.F. Bendorp, Vaderlandsche gezichten, of afbeeldingen, behoorende tot den tegenwoordigen Staat der Vereenigde Nederlanden, Amsterdam, H. Gartman e.a., 3 delen, 1786 - 1791.

Zustand: Good. Copper Engraving. 11.2 x 15.2 cm. Very Good. Not the first edition of this engraving, or else the value would be higher.

Zustand: Good. Original lithograph on chine colle. 34 x 52.5 cm (sheet). Very Good, some foxing, mostly in the margins. As published in "Galerie de son Altesse Royale Madame la Duchesse de Berry. Ecole Francaise. Peintres Modernes. Ouvrage Dedie a son Altesse Royale et Lithographie par d'Habiles Artistes sous la Direction de M. Le Chevalier Bonnemaison, Membre de la Legion d'Honneur, Directeur de la Restauration des Tableaux du Musee Royal, et Conservateur de la Galerie de son Altesse Royale".Marie Caroline Ferdinande Louise de Bourbon-Sicile, Duchesse de Barry; Daughter of Francis, Duke of Calabria, later King of the two Sicilies; m. Charles Ferdinand Duc de Berry (son of Charles X) in 1816. Mother of Henri Duc de Bordeaux, exiled with the rest of the court in 1830, came back clandestinely in April 1832 in an attempt to place her son on the throne with her as a regent. Arrested and imprisoned in November 1832, freed in 1833 and sent to Palermo; she settled in Austria where she died.She commissioned a series of 250 lithographs reproducing paintings from the collection of the Duc de Berry. The plates were published from 1822, and two volumes binding the plates together were issued in 1824 and 1826.

See his entry in the Oxford DNB. 1p, 12mo. On recto of the first leaf of a bifolium, the verso of the second leaf of which carries the address to 'Messrs Vizetely [sic] Branston & Co / 135 Fleet St'. The firm, who traded between 1827 and 1837, were not only 'engravers and oriental printers', but publishers too: the item referred to in this letter, 'The Young Lady's Book', had two editions published in 1829 and a third in 1832, and Jackson presumably contributed work. In fair condition, discoloured and worn. Folded for postage, with broken brown wafer adhering to the reverse of the second leaf. The letter reads: 'Gentlemen / I shall feel obliged if you can send me 4 copies of the Ladies book by bearer. If you cannot let me have 4 perhaps you will [?] to send that number to the country by parcel / I am Gentlemen / Yr Obtd Servt / J Jackson'. Jackson is not to be confused with the Royal Academician of the same name (1778-1848); the DNB states that the wood engraver Ebenezer Landels (1808-1860), resided for a time with the present individual in Clarendon Street.

Profile portrait of general Joachim Maurits von Kropff. The general is portrayed within a round frame with his name: DE COMMANDANT VON KROPFF.Under the portrait a couple of crossed swards.[NL] Portret van Joachim Maurits baron van Kropff. Geëtst door Cornelis Bogerts (1745-1817), naar Jacobus Buys (1724-1801). Etching on paper, trimmed within plate mark, and pasted on thick paper; on the cardboard is traced a double line frame.Total: 178 x 126 mm; in good condition.

Frontispiece of De Vryheid, a volume that concerns, among other things, the fourth English war and an attack on the stadtholdership.At center, the portrait of William I in a medal. On the border is the inscription: WILLEM I. GRONDLEGGER DER NEDERLANDSCHE VRYHEID.Signed at bottom: J. Buys del. / Rein.r Vinkeles sculp. At bottom: Te Amsterdam JOHANNES ALLART MDCCLXXXIII. Etching and engraving on paper; total: 192 x 126 mm; some rubbing and dirt on the margins, otherwise in great condition.

The personification of History composes pages of the vocabulary. Behind her, on the right is Athena sitting on a throne.Signed and dated at bottom: J. Buys inv. et del. / Rein.r Vinkeles sculp. 1786. At bottom: J. ALLART, excudit.Frontispiece of a later addition to Jacobus Kok's: Vaderlandsch Woordenboek, published by Johannes Allart, in Amsterdam, between 1785-1799, in 35 volumes.On verso annotation in pen and dark ink concerning the original publication.Frontispice - boekillustratie - book illustration - frontispiece Etching and engraving on paper; total: 229 x 134 mm; some rubbing on the margins, otherwise in great condition.

Etching and engraving on laid paper, 130 x 80 mm. Some browning on the edges, but further in good condition.Aankomst van de afvaardiging van de Staten-Generaal bij Paleis Huis ten Bosch voor de presentatie van de Acte van Garantie aan stadhouder Willem V, 10 juli 1788. Gemerkt rechtsboven: XXI.D.Pl.VII.Paleis Huis ten Bosch - Willem V (Prins van Oranje-Nassau) - Staten Generaal - Aanbieding aan de koning. Reinier Vinkeles (1741 1816) was een Nederlands tekenaar en graveur. Hij maakte onder anderen boekillustraties, historische prenten, topografische scènes en portretgravures. Zijn stijl verschoof van barok naar classicistisch naar meer natuurgetrouw. Zijn oeuvre wordt geschat op ca. 2.500 prenten.

Bust portrait of Kenau Simonsdochter Hasselaer turned towards the left, in oval frame. According to the legend, Hasselaer played a crucial role in the liberation of the city of Haarlem from the Spanish siege in 1573.Inscribed below: 'KENAU HASSELAAR', signed and dated: 'J. Buys delin. / Reinr. Vinkeles sculp. 1788 / naar een Origineel Famielje Schilderij'. Used as illustration in Jacobus Kok's: 'Vaderlandsch woordenboek : met kaarten, plaaten en pourtraitten'. Amsterdam: Johannes Allart, 1785-1796. Vol. XX. Etching and engraving on paper, trimmed within plate mark; total: 154 x 95 mm; mounted on cardboard with a one-line frame in black ink; in good condition.

Zustand: Good. Color lithograph after the engraving. 47.5 x 37cm. sheet size.Print entitled 'Sweet China Oranges, sweet China'. Plate (3 of 13) from the series 'Cries of London', published by Colnaghi & Co., London, 1793-1797. Colour stipple engraving by Luigi Schiavonetti after Francis Wheatley.Bibliographic reference: Karen F. Beall, Kaufrufe und Strassenhändler: Cries and itinerant trades,no. E21 (3).

Zustand: Good. Color lithograph after the engraving. 46 x 33cm. sheet size.Bibliographic reference: Karen F. Beall, Kaufrufe und Strassenhändler: Cries and itinerant trades,no. E21 (11).

HISTOIRE DE LA MEDECINE CLINIQUE Depuis son origine Jusqu a nos Jours, e t Recherches Importantes. Et manière de traité les maladies syphilitiques dans les femmes enceintes, dans les enfants nouveaux-nés et dans les nourrices, par Louis LAMAUVE. . par P.A.O. MAHON (Oeuvres posthumes du Docteur Mahon) 2 Teile in einem Band : Ventose an 12 (1804), 1. Auflage, ERSTAUSGABE, 518 SS. gebunden (schönes Halbleder der Zeit, goldgeprägt mit Rückenschild) 8°, Bibl-Schildchen, gut erhalten.

two pin-holes at the top of each sheet, with very light creasing and soiling but generally a very fresh, clean set with generous margins. Four sheets, (362 x 260 mm), stipple-engraved prints, platemarks measuring 246 x 177 mm, the images presented in elegant slim ovals (198 x 98 mm), double ruled, each plate bearing an English title of one of the elements and signed ?W. Hamilton delinet? and ?Giuseppe dall? Acqua di Cristoforo scul. 1787?, the first print (Earth) also with ?no. 343?, A lovely set of this rare series of prints depicting the Elements. This is a charming Italian and English collaboration, engraved and printed in Italy from an original by an English artist, using English language headings and presumably sold in Italy to an English market. The combination of the English artist and the use of English titles would have had a particular appeal to the traveller on the Grand Tour. The prints may have originally been published by a London print gallery, to whom Hamilton supplied a number of drawings, but we have traced no other version. The British painter William Hamilton had initially trained as an architect but was sent to Italy by the neoclassical architect Robert Adam, who employed both Hamilton?s father and the young Hamilton, whose first job was working for Adam as a decorative painter. Hamilton spent two years in Rome where he studied under the painter Antonio Zucchi, who later married Angelica Kauffman. On his return to England Hamilton established a reputation for himself painting theatrical portraits and illustrating scenes from Shakespeare. He was commissioned to create works for Boydell?s Shakespeare Gallery and was one of three principal illustrators of Boydell?s illustrated edition of Shakespeare, a massive project which ran from 1786 to 1805. He also contributed illustrations to Bowyer?s History of England and Thomas Macklin?s Bible, many of which were widely reproduced and sold as popular prints. Hamilton?s style was reminiscent of the cult of sentiment prevalent at the time and his work was clearly influenced by Angelica Kauffman and Henry Fuseli. These classical representations of the four Elements are typical of Hamilton?s output in combining sentimental interpretation with distinctively dramatic settings. Giuseppe dall?Aqua was a northern Italian engraver, son of the engraver Cristoforo dall?Aqua (1734-1787). A native of Vicenza, he began his career as an apprentice in the Remondini press of Bassano, where it is thought he continued to work for some years. In 1791 he became beadle of the Accademia Olimpica in Vicenza and later moved to Verona and Milan. Dall?Aqua is known to have copied many prints from the prolific Italian printmaker Francesco Bartolozzi (1727-1815), who worked in London. ?[Hamilton?s] pleasantly plump and youthful figures were better suited to the less pretentious format of book illustration than that of history painting. His attractive romantic scenes appear in many editions of 18th century poets. Hamilton was capable of being an accomplished draughtsman in a variety of styles; his album of drawings (London, V&A) includes work reminiscent of Henry Fuseli and Angelica Kauffman as well as more distinctive compositions nervously constructed with repeated, scratchy strokes of the pen? (Geoffrey Ashton in Grove Dictionary of Art, online). We have traced only one copy of these prints, a coloured and framed set appearing at auction in Rome, 28 October 2014. In addition to the V&A album cited above, the Huntington Library has another sketchbook of drawings by Hamilton.

Zustand: Good. 8vo. 4 vols. 15 cx 22cm. Printed on laid paper. 4 engraved title pages, 2 portraits and 202 plates. Marbled art nouveau calf bindings signed by A. Cretin-Pellion [Beaune, France]. (v. 1) [1 f.] xvi, 99 pp., plus 48 plates; (v. 2) [1 f.] 112 pp., plus 49 pls.; (v. 3) [1 f.] 106 pp., plus 50 pls.; (v. 4) [1 f.] 168 pp., plus 61 pls.; .OCLC Number / Unique Identifier:1097847182; For the earlier edition published by Lattré in 1789: Landwehr VI, 349 ; Cohen-De Ricci. pp. 456-457 ; Praz 357; Gordon Ray, Art of the French Illustrated Book, no. 23.À partir de 1765, Hubert-François Bourguignon d'Anville, dit Gravelot (1699-1773), donne des dessins sur le thème des emblèmes et allégories destinés à paraître chaque année sous la forme d'Almanachs iconologiques. À sa mort, en 1773, l'éditeur Lattré fait appel à Charles-Nicolas Cochin (1715-1790) qui, jusqu'en 1781, poursuit l'entreprise selon l'esprit voulu par Gravelot. L'ensemble des planches est ensuite repris pour former le traité qu'avait annoncé Gravelot dès la parution du premier Almanach de 1765 et publié sous le titre d'Iconologie par figures, d'abord au format in-12, chez Lattré, en 1789, puis au format in-8, chez Le Pan, en 1791.L'illustration se compose de deux portraits des artistes interprétés par Gaucher d'après La Tour et Monnet, quatre titres-frontispices et 202 jolies figures hors texte de Gravelot et Cochin gravés par Choffard, Aliamet, Bacquoy, de Ghendt, Legrand, Masquelier, Saint-Aubin, etc.Cohen, 456 - Gordon N. Ray, pp. 25-30 et 49-50 - Ch. Michel, Charles-Nicolas Cochin et le livre illustré au XVIIIe siècle, Genève, Droz, 1987, pp. 311-317.

Gerahmt: Rahmen: 56,5 x 46 cm. Zustand: Gut. Forma (Bildbereich): 36 x 28 cm. Blatt: 49 x 38 cm. *Plate 8 from a series of 12 stipple engravings "Cries of London" after Wheatley. - Ränder leicht gebräunt. - Beim Versand ins Ausland wird das Blatt ausgerahmt und ohne den Rahmen verschickt. Sprache: Deutsch Gewicht in Gramm: 2001.

The personification of History composes the first pages of the vocabulary. Behind her, on the left is Freedom, while a Fama is flying in the air. Two winged putti on the bottom right corner.Signed and dated at bottom: J. Buys inv. et del. / R. Vinkeles sculp. 1785.Frontispiece to Jacobus Kok's: Vaderlandsch Woordenboek, published by Johannes Allart, in Amsterdam, between 1785-1799, in 35 volumes.[NL] Allegorische voorstelling waarin de personificatie van Geschiedenis zittend een woordenboek schrijft, achter haar de Vrijheid, in de lucht de Faam. Etching and engraving on paper, with two title pages and paper cover; total: 225 x 134 mm; some rubbing, some damage on the other pages than that including the plate, otherwise in great condition. Muller 8-a, AvS 11.

The village of Sloterdijk. Titled: ''t Dorp Slooterdyk.' Engraving on laid paper with text. Total: 170 x 240 mm. In good condition with margins.

Allegory of the Indivisibility, 1795. Freedom and Abundance standing next to an altar displayed at the center. Their unity is disturbed by Deception, Discord and Envy, but are protected by flying putti. In the middle of the sky the All Seeing Eye, in the foreground two river gods. The print was originally accompanied by an explanation sheet.Signed and titled at bottom: "A. C. Hauck inv. C Bakker Del. / uit gegeven by J. Groenewoud te Rotterdam. / Hend.k Roosing Sculp. // ONDEELBAARHEID." Marked as "Proefdruk."[NL] Boven een sokkel - met daarop een boek, een document met zegels en een zwaard - houden de personificatie van Vrijheid (met de vrijheidshoed en lans) en de personificatie van Voorspoed (met de hoorn des overvloeds) gezamenlijk een lauwerkrans, palmtak en olijftak vast. Boven de krans zweeft een hart. De personificaties van Vrijheid en Voorspoed worden geplaagd door Bedrog (links), Laster (in de lucht) en Nijd (rechts), die aangevallen worden door drie putti. Op de voorgrond de personificaties van de Amstel en het IJ, met in hun midden een hart. Links personificaties van Rechtvaardigheid en Standvastigheid en rechts op de achtergrond een groep patriotten. In de lucht de heilige drie-eenheid, weergegeven als een gelijkzijdige driehoek in een lichtkrans met in het midden Gods oog. De prent is het tweede deel uit een serie van vier prenten over de Bataafse Omwenteling. Etching and engraving on paper, trimmed to plate mark; total: 327 x 374 mm; some light foxing, traces of previous mounting on verso. Muller 5377a/2.

View of Hoorn from the water, c. 1790.Part of a plate from c. 1824-1825 with 74 (unnumbered) plates of the most important topographical views and of the Netherlands, titled: 'Tableau des principales vues des palais et édifices.' Etchign and engraving, trimmed on plate mark; total: 171 x 247 mm. In very good condition.

First state of the etching representing the theater decoration with the little street of Amsterdam. Houses on the left and on the right and in the background a small bridge. On the right, on the left and in the foreground the public enjoying the play. In front of the stage the musicians. l Etching on paper, single plate; trimmed close to platemark; platemark: 334 x 418 mm, total: 340 x 426 mm; first state (proefdruck?) before lettering.