Kunst, peter jacob (246 Ergebnisse)

43 x 29 cm. Zustand: Gut. Kupferstich. Custos, Domenikus. Erste Ausgabe des sog. Heldenbuches. Die prachtvolle und berühmte Kupferstichfolge über die Ambraser Rüstkammer ( Sammlung Erzherzog Ferdinand II ) wurde von Ferdinand II. von Tirol in Auftrag gegeben und durch seinen Sekretär und Rat Jacob Schrenck von Notzing herausgegeben. Sie zeigt die bedeutensden Fürsten und Feldherren des 16. Jahrhunderts, zumeist in voller Rüstung und jeweils in reich ausgeschmückter, architektonischer Umrahmung. Die Namensschilder unter den Porträts sind nicht ausgefüllt. Der rückseitige Text gehört zu dem nächstfolgenden Bild. Die Kupfer sind von besonderer historischer Bedeutung für die Waffenkostüme der Zeit. Der hier gezeigte Stich zeigt den HerrenPETER STORZA (STORZZA) VON FLORENZ. deu S 7|1259BG Sprache: Deutsch Gewicht in Gramm: 444.

Leinen. Hollstein's German Engravings, Etchings and Woodcuts. 1400-1700. Volume XV A Lambert Hopfer to Sebastian Jenet. Editor Tilman Falk. Compiled by Robert Zijlma. Baricum. (1986). 236 S. Mit Hunderten von teils ganzseitigen Abbildungen nach Graphiken. 4°. Ziegelrotes OLeinen mit goldgeprägtem Rückentitel sowie feiner blindgeprägter Deckelfilete in OUmschlag. Der Band enthält die vorgestellten, abgebildeten, bezeichneten, bibliographierten und meist auch datierten Grafiken der Künstler Lambert Hopfer, Egidius Horbeck, Erasmus Hornick, Andreas und Wolfgang Huber, Donat Hübschmann, Bartholomé und Peter Iselburg, Jacob von Straßburg, Christoph und Wenzel Jamnitzer, Johann und Sebastian Jenet. Er ist Teil des bedeutendsten Referenzwerkes für Altmeistergrafik, des "Hollstein", dessen Begründer der deutsche Kunsthistoriker, Graphikexperte und -händler Friedrich Wilhelm Hollstein (1888-1957) war. Als Jude war er 1937 aus Berlin nach Amsterdam vor den Nationalsozialisten geflohen, wo ihm Max J. Friedländer eine Stelle am Rijksmuseum verschaffte. Dort entstanden die ersten Bände des heute immer noch weiter publizierten Monumentalwerks, das für alle Forscher, Händler, Museen und Institute zum unverzichtbaren Handbuch geworden ist. Tadellos frisch erhalten. Nahezu druckfrisches Exemplar.

Leinen. Hollstein's German Engravings, Etchings and Woodcuts. 1400-1700. Volume XIII A Jacob van der Heyden to Nikolaus Hogenberg. Editor Dr. Tilman Falk. Compiled by Robert Zijlma. Blaricum. (1984). 228 S. Mit Hunderten von teils ganzseitigen Abbildungen nach Graphiken. 4°. Ziegelrotes OLeinen mit goldgeprägtem Rückentitel sowie feiner blindgeprägter Deckelfilete in OUmschlag. Band 13 A enthält die vorgestellten, abgebildeten, bezeichneten, bibliographierten und meist auch datierten Grafiken von und nach den Künstlern Jacob van der Heyden, Peter Hille, Conrad Hillebrand, Georg und Johann Philipp Jakob und Sigmund Gabriel Hipschmann, Thomas Hirschmann, Augustin Hirschvogel, Michael Conrad Hirt, Hans Hirtz, Johann Caspar Höckner, Johann Lorenz Hoenig, Felix Höpfinger, E. Conrad Hoffmann, Jakob Hoffmann, Nikolaus Hogenberg. Er ist Teil des bedeutendsten Referenzwerkes für Altmeistergrafik, des "Hollstein", dessen Begründer der deutsche Kunsthistoriker, Graphikexperte und -händler Friedrich Wilhelm Hollstein (1888-1957) war. Als Jude war er 1937 aus Berlin nach Amsterdam vor den Nationalsozialisten geflohen, wo ihm Max J. Friedländer eine Stelle am Rijksmuseum verschaffte. Dort entstanden die ersten Bände des heute immer noch weiter publizierten Monumentalwerks, das für alle Forscher, Händler, Museen und Institute zum unverzichtbaren Handbuch geworden ist. Tadellos frisch erhaltenes, prächtiges Exemplar.

Zustand: Good. 8vo. One large sheet pamphlet, folded in four sections. A black and white illustration of Jacob Steinhardt. Chronology of the artist, and checklist of works included in the exhibition. Good, sheet yellowed, minor rubs, a few creases.From the Collection of the Art Historian Peter Selz.

Zustand: Good. 8vo. 48 pp. Hard Cover. Black and white plates throughout. Text in German. The artist's name on a paper tab affixed to inside of back cover/most likely not the artist's signature. Good, minor wear, yellowing on covers, spine rubbed, interior sheets toned. Scarce.From the Collection of the Art Historian Peter Selz.

[Das dekorative Blatt teils braunfleckig.].

Lithographie, um 1827, 21 x 14,5 (H) Blattgr. 33,5 x 21cm Einblattdruck. Sehr seltene Karikatur als frühe Lithographie auf die Hamburger Hauptkirchen St. Michaelis, St. Peter, St. Katharinen, St. Jakob und St. Nikolai, die heute auch (wieder) die Silhouette der Hansestadt maßgeblich bestimmen. Hintergrund war ein Aufruf an die Hamburger zur Erneuerung des Turmhelms der Hauptkirche St. Jacobi. Ein Kirchspiel sollte die Reparaturkosten für den kuppelförmigen Renaissance-Turmhelm einspielen, was jedoch nicht funktionierte und somit wurde der Helm schon 1810 zum Abbruch verkauft. Der Architekt Hermann Peter Fersenfeldt (1786-1853) ersetzte den Helm durch einen oktogonalen, mehrgeschossigen Aufsatz, der am 2. August 1827 fertiggestellt worden war. Tatsächlich wurde angezweifelt, dass der mittelalterliche Backstein-Turmstumpf die Laste tragen könnte, so wird der nach vorne aus der Reihe seiner Turmnachbarn - altertümlich barock gekleidete Herrschaften der wohlhabenden Hamburger Bürgerwelt mit Turmaufbauten auf den Köpfen - heraustretende St. Jakob als älterer Mann mit zwei Krücken dargestellt, mit Hilfe derer er den großen Turm auf seinem Haupte balanciert. Mehrfach geknickt und Knickspurig, leicht gebräunt und minimal fleckig, rechter Rand mit roten Schnittfarbenflecken, kaum Randläsuren, schönes Blatt.

Plate 3: Decorative portrait of Adamus / Adam van Noort (1561-1641) after Van Dyck. Van Noort was a Flemish painter and draughtsman. He was the teacher to both Peter Paul Rubens and Jacob Jordaens, the latter of whom became his son-in-law. Original etching and stipple engraving on verge type hand laid paper with watermark. (Not visible on every sheet.) Description: This attractive original old antique print / plate originates from: 'Over de Physiognomie.', by J.C. Lavater, Dutch edition 1780-1784, translated from German by Johan W. van Haar and published by Johannes Allart in Amsterdam. The original German edition had appeared also in 4 vols. under the title 'Physiognomische Fragmente zur Beförderung der Menschenkenntnis und Menschenliebe.', Leipzig, 1775-1778. Lavater advocated the phenomenon of physiognomy, by which one could judge character from facial characteristics. Lavater claimed for instance that heavy brows grown together meant criminality; while a sloping forehead might show that one was less smart. The work had an very large impact hroughout Europe and as Lavater's ideas spread, people naturally wanted to have more professional and accurate depictions of other people and themselves, making the art of the silhouette portrait very popular.Artists and Engravers: Author: The Swiss theologian and mystic Johann Kaspar Lavater (1741-1801). The plates are engraved or etched by several artists, such as Heidegger from Zürich, Eckardt, Fresinger, I. Hegi and R. Brichet. Many plates in the text are engraved by the artists J.R. Schellenberg and J.H Lips. Johann Rudolph Schellenberg (1740-1806) was a Swiss painter, engraver and illustrator and entomologist. He is considered one of the greatest illustrators of his time and the most important Swiss engraver of the 18th Century. Johann Heinrich Lips (1758-1817) was a Swiss engraver. Condition: Excellent. General age related toning as visible on image. Some damp staining in top left corner of sheet not nearly effecting image or plate. Storage location: C79-03 The overall size is ca. 5.3 x 8.5 inch. The image size is ca. 3.3 x 4.1 inch. The overall size is ca. 13.5 x 21.5 cm. The image size is ca. 8.5 x 10.5 cm.

Abraham van Diepenbeeck (illustrator). '"S. ALBINUS"'Engraving of Saint Albinus holding a palm branch, with cherubs above and figures in the background.Made by Theodor Matham after Abraham van Diepenbeeck.Medium: Engraving on hand laid (verge) paper.Sheet size: 14 x 25 cm (5.51 x 9.84 inch). Image size: 14 x 25 cm. (5.51 x 9.84 inch).SAINT ALBINUS, RELIGIOUS ENGRAVING, BAROQUE ART, FLEMISH PRINT | PCO-E22-14BACKGROUND INFORMATIONPublished by Martinus van den Enden, part of a series of Saints, published c.1615-1676.Reference: Referenced in collections of Flemish religious prints, often tied to Antwerp publishers.Biography engraver: Theodor Matham, also Theodoor Matham (born 1589) was a Dutch engraver. He was the younger son of the better known engraver Jacob Matham, and the brother of the engravers Jan and Adriaen Matham.Biography artist: Abraham van Diepenbeeck (1596-1675) was Dutch painter, draftsman, glass painter, print maker and tapestry designer who worked most of his active career in Antwerp. He designed glass windows for various churches and monasteries in Antwerp for which he made many design drawings and oil sketches. He engraved and designed many prints which were published by prominent Antwerp printers such as van Meurs, the Plantin Press and Martinus van den Enden the Elder. He had a close relationship with the workshop of the leading Flemish Baroque painter Peter Paul Rubens and collaborated on various projects under the direction of Rubens. In the 1630s van Diepenbeeck started to create monumental paintings. His work was influenced by Rubens and Anthony van Dyck. Condition: good, given age. Slight paper loss in top left corner. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Original Kupferstich von ca. 1598. -- Blatt-Maße: ca. 33,5 x 25,5 cm. Plattenmaße: ca. 22 x 18 cm. -- gut erhalten. || Original copper engraving from c. 1598. -- in good condition. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! - No copy! - No reprint! la Gewicht in Gramm: 1550.

Zustand: Good. Engraving on laid paper with fleur-de-lys watermark (Mauquoy-Hendrickx 170?). 27.1 x 19 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with fleur-d-lys watermark (Mauquoy-Hendrickx 170?). 22.7 x 15.2 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with fleur-de-lys watermark (Mauquoy-Hendrickx 167?). 24.7 x 16.1 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling."Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with fleur-d-lys watermark (Mauquoy-Hendrickx 170?). 23.6 x 17.3 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with indecipherable watermark. 24.5 x 17.3 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with letters watermark (Mauquoy-Hendrickx 337). 24.4 x 15.4 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling."Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with fleur-de-lys watermark (Mauquoy-Hendrickx 170?). 26 x 17.6 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with fleur-de-lys watermark (Mauquoy-Hendrickx 170?). 23.3 x 15.5 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with letters watermark (Mauquoy-Hendrickx 337). 24.6 x 16.5 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. Short tear at lower right sheet corner."Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with letters watermark (Mauquoy-Hendrickx 337). 24.1 x 15.3 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with fleur-de-lys watermark (Mauquoy-Hendrickx 170?). 24.7 x 17 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with letters watermark (Mauquoy-Hendrickx 337). 23.8 x 15.5 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with letters watermark (Mauquoy-Hendrickx 337). 23.6 x 16.3 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. A short tear at bottom sheet edge (below his right hand)."Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with fleur-d-lys watermark (Mauquoy-Hendrickx 170?). 23.9 x 16.3 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with letters watermark (Mauquoy-Hendrickx 337). 24.4 x 15.4 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling."Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with fleur-de-lys watermark (Mauquoy-Hendrickx 164). 23.5 x 15.2 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling."Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with fleur-de-lys watermark (Mauquoy-Hendrickx 167?). 23.2 x 16.9 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with fleur-de-lys watermark (Mauquoy-Hendrickx 167?). 24.3 x 15.8 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling."Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper. 27.5 x 18.5 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.

Zustand: Good. Engraving on laid paper with letters watermark (Mauquoy-Hendrickx 337). 23.3 x 15.5 cm. (sheet). Very Good. Sheet trimmed to or within the plate mark. Minor surface soiling. A tiny hole in sitter's upper jawbone. A dark speck of foxing on verso (not visible on recto)."Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132.