after titian (19 Ergebnisse)

Hardcover. Zustand: Good. No Jacket. With a portrait after Titian (illustrator). 1st Edition. Firmly bound black cloth boards with a little chipping at the top and base of the spine and some wear on the corners, no jacket, no writing inside.

Zustand: Good. Ludovico Ariosto (1474-1533), Composer. Line etching measuring 8 x 10 inches. Light foxing, right edge ragged.

Zustand: Good. Stipple and line engraving. 34 x 24 cm. (sheet). Very Good. Light soiling in the margin areas.

Zustand: Good. Stipple and line engraving. 23 x 21 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark.

Zustand: Good. Steel engraving. 8 x 10 1/2 in. (sheet). Very Good, some toning in sheet margins.

Zustand: Good. Steel engraving. 8 1/4 x 10 1/2 in. (sheet). Good, toning and soiling in the margins.

Zustand: Good. Steel engraving. 8 x 10 3/4 in. (sheet). Very Good, some toning along sheet edges and foxing.

Zustand: Good. Steel engraving. 10 3/4 x 8 in. (sheet). Very Good, light toning in the margins.

Zustand: Good. Steel engraving. 10 3/4 x 7 3/4 in. (sheet). Very Good, some toning along sheet edges.

Zustand: Good. 16mo. Engraved Printed Sheet, Very Good with small tear, corner creased, minor shelf wear. Text in Latin.

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. Engraving. 48 x 39 cm sheet size. Reinforced and repaired left side and bottom.Auteur : Titien (1489?-1576). Peintre du modèle Éditeur : [Imprimerie Royale] (Paris) Date d'édition : 1729 Sujet : François Ier (roi de France ; 1494-1547) Original Titian oil painting of Francis I is at the Louvre.Plate from Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux dessins, qui sont en France dans le cabinet du Roy, dans celuy de Mgr le Duc d'Orléans, & dans d'autres cabinets, divisé suivant les différentes écoles, avec un abbrégé de la vie des peintres et une description historique de chaque tableau. [Recueil Crozat].

Cornelis Bloemaert after Titian (illustrator). 'ECCE AGNUS DEI'The Virgin and Child with St. JohnMade by an anonymous engraver after Cornelis Bloemaert after Titian.Medium: Engraving on hand laid (verge) paper. Watermark: Pro Patria (Dutch garden).Sheet size: 25.1 x 31.8 cm (9.88 x 12.52 inch). Image size: 22.8 x 29 cm. (8.98 x 11.42 inch).VIRGIN-CHILD-ST JOHN-MADONNA | PCO-E17-38BACKGROUND INFORMATIONSource: unknown, to be determined.Biography artist: Cornelis Bloemaert II (1603 - 28 September 1692), was a Dutch painter and engraver, who after training the Dutch Republic worked most of his career in Rome. His workshop in Rome played an important role in spreading Italian art throughout Europe and attracted many young engravers from abroad.Tiziano Vecelli or Vecellio (c.1488/90 - 27 August 1576), Latinized as Titianus, hence known in English as Titian, was an Italian (Venetian) Renaissance painter of Lombard origin, considered the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno. During his lifetime he was often called da Cadore, 'from Cadore', taken from his native region. Condition: good, given age. Printer's greases a bottom left. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Zustand: Good. Large 8vo. 17 x 23.5. Contemporary marbled roan, spine repaired.Unique copy with 68 17th portraits after Van Dyck, Rubens et al. with 5 additional rare 18th century engravings, including two fold-outs entitled "Arrivée de notre St. Père le Pape en France , l'an 1799" and a large format portrait of the celebrated monk Benoit Joseph Labre and others. The plates are pasted on support pages with extensive 18th Century manuscript annotations on facing pages. Also included are 2 Als, likely from the bishop dated 23 and 26 juin 1929 from "le Mont. " They are addressed to Henri with greetings to Madame Beauséjour, who may have been his brother or cousin. Expertise by: Jean Lequoy, Librairie Giraud-Badin, Paris. The portraits are afterAegidius Rucholle, Titian, Anthony van Dyck, Pieter van Mol, Otto Vaenius, Rubens, Cornelis Galle, Cornelis de Vos, Gaspar de Crayer, Coenraerd Waumans, Charles Woutier, FranciscusNys and T. Willebroorts Bossaerts.Hollstein, Dutch &Flemish, Engravers, IX, pp. 212-219; OCLC Number: 2337084.Paul Félix Beuvain de Beauséjour, né le 16 décembre 1839 à Vesoul et décédé le4 avril 1930 à Carcassonne, est un prêtre français qui fut évêque de Carcassonne.[DE JODE (Pieter)]. Theatrum principium. S.l.n.d. Manuscrit du XVIIIe siècle. In-4, basane marbrée, dos orné, roulette sur les coupes, tranches mouchetées (Reliure de l'époque).Important recueil de portraits gravés de rois, princes et autres personnages illustres, gravés et publiés pour la plupart par Pieter de Jode le Jeune (1606-1674).Le volume renferme 73 gravures contrecollées et accompagnées de notices manuscrites, dont 68 portraits, exécutés pour l'essentiel au XVIIe siècle. Il s'ouvre sur un titre-frontispice libellé Theatrum principium et s'achève par une table manuscrite.De la bibliothèque Paul-Félix Beuvain de Beauséjour, évêque de Carcassonne, avec ex-libris. Dos restauré.

No Binding. Zustand: Very Good. 1st Edition. Uncolored woodcut, 2 sheets joined (First Edition). Printed on paper with watermark. Sheet size: 19" x 29" This swirling, vibrant and extremely rare Italian woodcut represents the decisive Battle of Lepanto. This is the first state of Christophoro Chrieger's outstanding work of which less than five examples are known. The watermark is of a shield with a unicorn. Chrieger, one of the most remarkable woodcut artists of his day who worked in the artistic capital of the world, Venice, was born in present-day Germany and died in 1590. He left behind an impressive oeuvre, including not only this woodcut but the many he contributed to Cesare Vecellio's La favorite del Turco ("The Sultan's Favorite"), one of the most famous early printed costume books covering the costumes of Europe and Ottoman Turkey. The landmark confrontation at Lepanto, fought on October 5, 1571, was waged between the Ottomans and members of the Christian Holy League. The Holy League's forces were made up of soldiers and equipment from the Republic of Venice, the Papacy (under Pope Pius V), Spain (including Naples, Sicily and Sardinia), the Republic of Genoa, the Duchy of Savoy, the Knights Hospitaller and others. In the end the Holy League soundly defeated the Ottomans' navy, thus ending the Ottomans' dreams of supremacy over the Mediterranean. The forces of the Ottomans and Holy League suffered heavy casualties during the Battle of Lepanto as this documentary woodcut amply demonstrates. The Holy League under the command of Don Juan of Austria fought with 206 galleys, 6 galleasses, and 1,815 guns at Lepanto, a strait between the gulfs of Pátrai and Corinth in Greece. Don Juan, titular head of the Holy League, was the illegitimate son of Emperor Charles V and half-brother of King Philip II of Spain. He divided the forces of the Holy League into four divisions, with the Venetians under Agostino Barbarigo on the left, himself in the center, the Genoese under Giovanni Andrea Dorea on the right, and a reserve led by Álvaro de Bazán in the rear. Ultimately, the Holy League lost 12 galleys and suffered 8,000 dead and wounded soldiers.(Don Quixote novelist Miguel de Cervantes was one of those injured.) The Ottomans fought under Ali Pasha and commanded 230 galleys, 56 galliots and 750 guns. In contrast to the Holy League, they lost 15,000 men to death or injury. In addition, 137 of their ships were captured and 50 of them sunk. Ten-thousand of the Ottomans' Christian galley slaves were also liberated by the Holy League. Lepanto was the last major naval battle fought solely between rowing vessels. Lepanto constituted the first significant Ottoman defeat at the hands of Christian powers, and it all but ended the myth of Ottoman naval impregnability. Yet it did not impact Ottoman dominance on the land as a new Turkish fleet was quickly assembled by Sokolu, grand vizier of Selim II. Nevertheless, as historian Paul K. Davis commented, the Ottoman defeat at Lepanto "stopped Turkey's expansion into the Mediterranean, thus maintaining western dominance." Several Western historians believe that Lepanto was the most critical naval battle to occur anywhere on the globe since the Battle of Actium of 31 B.C. Due to its extreme historical significance, the Battle of Lepanto inspired a wealth of powerful art, including Chrieger's work. Two pictorial representations of the battle are housed in the Doge's palace in Venice. The first, in Sala del Collegio, was executed by Paolo Veronese. The second, on the walls of the Sala dello Scrutinio, was produced by Andrea Vicentino. The second of these two works replaced Tintoretto's earlier Victory of Lepanto, which was destroyed by fire in 1577. The dynamic woodcut offered here contains a wealth of pictorial and textual detail and was based on a drawing by the greatest painter of the Venetian School: Tiziano Vecellio (b. 1490, Pieve di Cadore, d. 1576, Venice). In addition to crafting this drawing, he also painted the Allegory of the Battle of.

Bust portrait of the painter Sebastiano de Piombo after a painting by Titian. The painter was a dominican monk and in fact he is portrayed in his monastic dress. Bottom part of the print with text left out. l Engraving, trimmed within platemark; total: 385 x 292 mm; some dirt and glue stains on the bottom right, hole repaired. Hollstein 111, W 4 PP01P (Piombo) / black folders A-D [Dalen].

Shepherd and shepherdess seated by a fountain, after Titian; the shepherd, semi-nude and wearing a loose sheet, with his arm around the shepherdess, wearing flowers in her hair and a loose dress; both holding musical pipes; in foreground to right, crook; fountain on the left, with sculpted shell; trees in the background. Signed below: "Titian Invent." and "I. Smith ex."Ganz notes that this is an adaptation of Titian's 'Three Ages of Man' in Edinburgh (Coll. of Duke of Sutherland), as first engraved by Wallerant Vaillant (Holl. 47/Wess. 238; same direction as Smith's mezzotint). According to Hollstein, Vaillant "probably worked after a drawing attributed to Jan de Bisschop in Amsterdam, inv. 1966:45," which was copied, in reverse, by an anonymous engraver and published by Pieter Schenck (Holl. 2037) and by Blooteling (Holl. 277).Smith's plate is a re-publication of an earlier mezzotint which was copied either from the anonymous mezzotint or the mezzotint by Blooteling.An impression is included in the Smith album in the NYPL, mounted near prints dated 1707.Published in London ca 1700.On verso collector's mark: VE in a circle: Pim van Eekelen (Amsterdam 1923-1984), L.5101.[NL] Schaapsherder en herderin bij een fontein, naar Titiaan. Mezzotint on paper, trimmed close to plate mark; total: 172 x 131 mm; in outstanding condition.

A young woman shown almost half-length directed slightly to right, looking towards the viewer, hair dressed up with two plaits over the crown of her head, and a coil loose over right shoulder, pearl earrings, and wearing a square-necked gown with heavy puffed sleeves decorated with bows, a long necklace and a light scarf hanging over right shoulder.Inscribed at bottom: Done from an Original Picture of Titians by Chas. Corbutt. / London Printed for Robt. Sayer, Map & Printseller, at No. 53, in Fleet Street.On verso an inscription in pen and brown ink.According to the British Museum, Richard Purcell's London prints are possibly entirely piracies of other mezzotints, and it is a question how he and Sayer avoided prosecution for copyright infringement. This doubtless explains his use of pseudonyms, especially "Charles Corbutt". Another pseudonym may have been Johson.[NL] Een jonge vrouw op bijna halve lengte, iets naar rechts gericht, kijkend naar de kijker, haar opgestoken met twee vlechten over de kruin van haar hoofd en een rol los over de rechterschouder, pareloorbellen, en het dragen van een japon met vierkante hals met zware pofmouwen versierd met strikken, een lange halsketting en een lichte sjaal hangend over de rechterschouder. Mezzotint on paper with small margins; total: 336 x 238 mm; traces of previous mountings on verso, some repaired tears, light smudges, overall in fair condition.

Jesus Christ sitting on the globe placed in a car drawn by Bishops, and preceded by a great number of persons, among whom are distinguished Adam and Eve, and the Sybils carrying standards; the disciples of Christ, Martyrs, Saints of both sexes are following; several Latin inscriptions, particularly on the margin above and below. Small and oblong, from left to right. On the verso collector's marks of Collection A.J. Domela Nieuwenhuis (Lugt 356B) and Museum Boymans. l Engraving on paper, trimmed within platemark; reinforced and pasted on thicker paper; total: 75 x 382 mm; state I/2; Hollstein/Wurzbach 6.