16th-18th Century Prints

First edition illustrated with 25 plates including the title in a cartouche, and numbered. One copy at the Bibliothèque Nationale de France with 2 plates missing, another at the British Library with 21 plates out of 25.
Contemporary glazed brown half-calf binding. Smooth spine decorated with 5 fleurons. Rubbed black calf title-label. Head worn. Upper joint cracked at head and foot. Rubbing.
"For the benefit of young people who practice drawing & painting, Le Clerc has gathered on 25 small prints the different clothing of the Greeks and Romans, which he engraved in 1706... One notices a noble simplicity which bears the true character of Antiquity." (Catalogue raisonné de l'oeuvre de Sébastien Le Clerc, by Charles Antoine Jaubert, 1774)

NB: This work is available at the bookshop on request within 48 hours.

Original engraving. Optical view heightened in watercolour, depicting a view of the review of the King's Household, "infantry which takes place every year in the plain of Sablons one league from Paris". Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in fashion between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West. A small trace of angular fold. Fine impression with very fresh colours.

Collection of drawings by So Shiseki. The date 1765 is the only date found in the collection, but it is not impossible that the work is a 19th-century reprint, as Japan had a very different concept from ours concerning authenticity and originality, including ancient temples that were rebuilt identically once they became dilapidated. The Waseda Library, the most important in Japan, possesses a copy with the same characteristics. However, bookmaking techniques in Japan were not different in the 18th and 19th centuries; there was no break, and this view is Western. 31 prints including 12 double-page.
Accordion volume, bound with stitching, on mulberry paper. Chocolate honeycomb cover. Title label on upper board. Borders rubbed, but handsome copy, fresh.
So Shiseki is a painter of the Nagasaki and Nampin schools; he followed the teaching of the Chinese painter So Shigan, whose name he adopted. He is a painter of flowers, birds and animals, his style uses calligraphy techniques with broad or fine strokes and ink washes.

First printing of this suite of 4 engravings numbered 1 to 4.
20th-century binding in half re-used vellum. Unlettered spine. 18th-century style marbled paper on boards. Engravings mounted on guards. Good copy. First print backed with old paper to repair a tear and small lacks to lower margin. The second print contains a 1cm tear to margin, a stain to the lower part of the engraving, and a restored lack to the right corner.
Nicolaes Pietersz. Berchem (1620-1683) was a Dutch painter, draughtsman and engraver who was among the principal Dutch Italianate artists. His work had a lasting influence on landscape painting. He excelled in the representation of animals. Besides 800 paintings and 500 drawings, he created 50 engravings of which the 4 present in this collection are emblematic of his style, blending domestic animals and peasants, shepherds, washerwomen in a fantastical landscape... Many of his works were engraved in the 18th century.

First printing of this numbered etching suite from 1 (frontispiece) to 7. Plate numbered 2 is not found after number 1, the following plate bearing number 3. The collection preserved at the Madrid Library (Biblioteca historica Marques de Valdocilla) also records 6 engravings for this work without our possessing details concerning these 6 plates drawn and engraved by Lepautre. Absent from the electronic catalogues of the Bibliothèque Nationale de France.
20th-century half vellum binding using reused material. Unlettered spine. 18th-century style marbled paper on boards. Engravings mounted on tabs. 2 brown stains in the margins of the frontispiece, with soiled margins. Plate 7 contains numerous small yellowish stains in the margins. Only plates 5 and 7 contain in the lower margin: Le Pautre fecit et P. Mariette excud.
French draughtsman and engraver (1618-1682), he is renowned for his qualities as an ornamentalist. He remained marked in his style by his first trip to Italy in the company of his master Philippon, whose engraver he became upon his return from Italy for Curieuses Recherches de plusieurs beaux morceaux d'ornements antiques et modernes tant dans la ville de Rome que autres lieux d'Italie. His work was collected and published by Jombert from 1741 under the general title of oeuvres d'architecture de Jean Lepautre. His varied and dense style, of great richness of invention within a rigorous framework, had a great influence on the 18th century.

First printing of this series comprising 6 etchings (including a title-frontispiece) drawn and engraved by Lepautre and printed by Mariette. Copy similar to that held by the Biblioteca historica Marques de Valdocilla in Madrid (UCM). Not found in the electronic catalogues of the Bibliothèque Nationale de France. Plate dimensions 16.5x22.5cm.
20th-century binding in half vellum. Unlettered spine. 18th-century style marbled paper on boards. Plates mounted. A brown stain on the second engraving in the outer margin extending onto the engraving (1.5cm/3cm), another 1cm in diameter on plate 3. The engravings are numbered in the lower margin of the plate and also contain: P. Mariette ex.
French draughtsman and engraver (1618-1682), he was renowned for his qualities as an ornamentalist. He remained marked in his style by his first journey to Italy in the company of his master Philippon, for whom he became the engraver on his return from Italy for Curieuses Recherches de plusieurs beaux morceaux d'ornements antiques et modernes tant dans la ville de Rome que autres lieux d'Italie. His work was collected and published by Jombert from 1741 under the general title of architectural works by Jean Lepautre. His varied and dense style, of great richness of invention within a rigorous framework, had a great influence on the 18th century.

Etching and engraving after Jean-Baptiste Greuze, entitled La Vertu Chancelante, dated 1776, bearing the signature of the artist and engraver on the verso. The engraving is executed by Jean-Massard (1740-1822) and printed under the care of C. Beauvais.
The plate mark has been trimmed. Marginal tears and small lack in upper section. Traces of restoration on verso of corners.
Fine engraving by Jean Massard after a work by Jean-Baptiste Greuze. Most of Greuze's major works were engraved under his supervision and care and published by himself, in his lodgings on rue Thibotaudé. Jean Massard was one of these appointed "translators." Greuze being concerned with the sale of his engravings, each proof had to be signed on the verso by himself and his engraver Massard, as is the case for this impression (the British Museum copy also bears the signatures of the painter and engraver).
An epitomic composition of Greuze's moralizing paintings, a young woman in an ample dress sits on a chair in a humble attic room, a watch in her hand, waiting for her lover. To the right, a letter, flowers and a basket rest on a table.
The original painting of this delightful genre scene is today in the collection of the Alte Pinakothek in Munich (HUW 3).

Bibliography: Le Blanc, 1854, 91
Smith 1837, 84.

Original engraving. Optical view enhanced in watercolor, depicting a view of the fireworks display at Green Park, London in celebration of peace in 1763
Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the end of the 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was developed first in Paris, then London and finally in Germany and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Proof with very fresh colors, one fold mark and minor soiling.

Original engraving. Optical view heightened in watercolour, depicting a view of the Chinese baths taken from the Boulevard des Capucines.
Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing-room entertainments. The process was first developed in Paris, then London and finally in Germany and was devoted to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Some scattered worming and three dampstains at the bottom of the plate.

Original engraving. Optical view heightened in watercolor, depicting a view of the Palace of the Chamber of Deputies.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of the Orient and Occident.
Two strips of pasted paper (on the left and at the top) reinforce the plate.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the Place Royale in Paris.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of the Orient and Occident.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the Palace of the Stock Exchange.
Optical views, also called vues, perspectives, or "mondo nuovo," are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be viewed through a series of mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered the forerunners of three-dimensional images and stereoscopes, which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlor entertainments. The process was first developed in Paris, then London, and finally in Germany, and focused on representing—in an idealized manner—the most famous panoramas and landscapes of East and West.
One tear without loss to left margin.
A handsome plate with fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the royal château of Compiègne.
Optical views, also called vues, perspectives, or "mondo nuovo," are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be viewed through a series of mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered the forerunners of three-dimensional images and stereoscopes, which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlor entertainments. The process was first developed in Paris, then London, and finally in Germany, and focused on representing—in an idealized manner—the most famous panoramas and landscapes of East and West.
A handsome plate with fresh colors.

Original engraving. Optical view enhanced with watercolor, depicting a view of the Royal Military School, taken from Avenue Vaugirard.
Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of the Orient and Occident.
Handsome plate with fresh colors.

Original engraving. Optical view enhanced with watercolor, depicting a view of the Porte Saint Martin taken from the Boulevard Saint Denis.
Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of the Orient and Occident.
Handsome plate with fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the New Gallery of the Cabinet of Natural History at the Jardin du Roi.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a system of multiple mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to have appeared in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine plate with fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the Barrière des Gobelins or d'Italie.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a system of multiple mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to have appeared in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
A strip of paper reinforces the plate in the left margin.
Fine plate with fresh colors.

Original engraving. Optical view heightened in watercolors, depicting a view representing the Royal Château of Versailles from the Paris avenue side.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
A paper strip in the upper margin reinforces the plate.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolors, depicting a view representing the gallery erected in the Place de Grève on the occasion of the birth of Monseigneur le Dauphin.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the Royal Palace of Brussels.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the Trinity Bridge in Florence.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolour, depicting an interior view of St. Peter's Basilica in Rome.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
A fine impression with very fresh colours.

Original engraving. Optical view heightened in watercolour, depicting a view of the Theatre of Marcellus in Rome.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
A fine impression with very fresh colours.

Original engraving. Optical view heightened in watercolor, depicting an interior view of Dorth Cathedral.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of St Giles Church in Edinburgh.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Hand-colored aquatint optical view, depicting a view of St Paul's chapel, taken from York Place in Edinburgh.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany, and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Some very light dampstaining, otherwise a fine impression with very fresh colors.

Original engraving. Hand-colored aquatint optical view, depicting a view of the high street and St Mary's church in London.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were parlour entertainments. The process was first developed in Paris, then London and finally in Germany, and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Lack to lower margin not touching the image, otherwise a fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the procession of Florence on the feast day of Corpus Christi.
Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a system of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onward. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process developed first in Paris, then London and finally in Germany, and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Small tears of no consequence to lower margin, otherwise a fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the hot springs fountain and the square of Aix-la-Chapelle.
Optical views, also called views, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a system of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onward. Optical views appear to have emerged in the 1740s and were drawing room entertainments. The process developed first in Paris, then London and finally in Germany, and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
A fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the horse market in Frankfurt am Main.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the end of the 18th and beginning of the 19th century. They were intended to be observed through a set of multiple mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Some minor dampstaining, otherwise a fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the bridge of Vienna.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the end of the 18th and beginning of the 19th century. They were intended to be observed through a set of multiple mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Optical view enhanced with watercolor, depicting a view of the ambassadors' hotel in Vienna, taken from the garden side.
Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and are salon entertainments. The process was first developed in Paris, then London and finally in Germany and was devoted to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Optical view enhanced with watercolor, depicting a view of the square and barracks of Top-Hané at the entrance to the port of Constantinople.
Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and are salon entertainments. The process was first developed in Paris, then London and finally in Germany and was devoted to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Minimal traces of dust, otherwise a fine impression with very fresh colors.

First edition, illustrated with 72 engravings (etchings), re-engraved after the originals. All plates, printed before lettering, have been annotated in pencil (author and title).
Publisher's binding. Special plate by Souze. Binding by Charles Magnier. Half red shagreen richly decorated; red percale boards stamped with a large decorative gilt plate on black ground. All edges gilt. White moiré endpapers. Upper joint slightly cracked at head. Some foxing on the first leaves and on the index.
Handsome copy

Original engraving. Optical view heightened in watercolor, depicting a view of the Ponte Sant'Angelo in Rome. Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany and was devoted to representing - in an idealized manner - the most famous panoramas and landscapes of East and West. A fine impression with very fresh colors.

Original engraving.
Optical view heightened in watercolor, depicting a view of Saint Peter's in Rome.
Optical views, also called views, perspectives or "mondo nuovo", are engravings very fashionable between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards.
Optical views seem to appear in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany and was dedicated to representing - in an idealized manner - the most famous panoramas and landscapes of the Orient and the West. Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the Royal Academy of Painting in Rome. Blue paper. Optical views, also called views, perspectives or "mondo nuovo", are engravings very fashionable between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany and was dedicated to representing - in an idealized manner - the most famous panoramas and landscapes of the Orient and the West. Some very light marginal foxing. Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolors, depicting a view of the Quirinal Palace in Rome. Blue paper. Optical views, also called vues, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a series of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West. Some very light marginal foxing. Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolors, depicting a view of the Church of St. John Lateran in Rome. Optical views, also called vues, perspectives or "mondo nuovo," are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a series of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were drawing room entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West. Fine impression with very fresh colors.

Original engraving.
Optical view heightened in watercolor, depicting a view of the great Piazza del Popolo, in Rome.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards.
Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West. Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the Boulevards of Paris taken from the Porte du Temple. Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West. Two pale corner dampstains not affecting the engraving. Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the three galleries of the Palace of Arts and Sciences in Rome. Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered the predecessors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and sought to represent - in an idealized manner - the most famous panoramas and landscapes of East and West. Fine impression with very fresh colors.

Original engraving. Hand-colored optical view in watercolor, depicting a view of the Theatre of Marcellus in Rome. Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very popular between the late 18th and early 19th centuries. They were intended to be viewed through a set of several mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West. A central fold mark. Fine impression with very fresh colors.

Original engraving. Hand-colored optical view in watercolor, depicting a view of the review of the King's Household, "infantry which takes place every year in the plain of Sablons one league from Paris". Optical views, also called vues, perspectives or "mondo nuovo", were engravings very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany, and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West. A small angular crease mark. Fine impression with very fresh colors.

Original engraving. Hand-colored optical view in watercolor, depicting an interior view of St. Paul's in Rome. Optical views, also called vues, perspectives or "mondo nuovo", were engravings very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany, and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West. Fine impression with very fresh colors.

Original engraving.
Optical view heightened in watercolors, depicting an interior view of Saint Sulpice church.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the end of the 18th and early 19th centuries. They were intended to be viewed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as precursors to three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards.
Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany, and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West. Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolour, depicting a view of the Louvre colonnade. Optical views, also called views, perspectives or "mondo nuovo", are engravings very fashionable between the end of the 18th and the beginning of the 19th century. They were intended to be observed through a set of several mirrors or by means of a Zegrascope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and was dedicated to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
A very slight foxing at the top of the plate, otherwise fine impression with very fresh colours.

Original engraving. Optical view heightened in watercolor, depicting a view of Holyrood Palace in Scotland. Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
A fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of St. Ouen church in Rouen taken from the botanical garden. Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
Some minimal foxing, otherwise a fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolors, representing a perspective view of the review of the royal household. Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process developed first in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.

Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolors, representing a view of Westminster Abbey and Saint Margaret's Church in London. Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process developed first in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Some minor foxing, otherwise a fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the court of Marseille.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was developed first in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
A tiny tear with lack to lower left corner, otherwise fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the interior of Westminster Abbey.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was developed first in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Vue d'optique heightened in watercolour, depicting an interior view of the Royal Exchange in London.
Vues d'optique, also called vues, perspectives or "mondo nuovo", are engravings that were highly fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Vues d'optique can be considered the precursors to three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Vues d'optique appear to have emerged in the 1740s and were drawing-room entertainments. The process was first developed in Paris, then London and finally in Germany, and sought to represent - in an idealized manner - the most famous panoramas and landscapes of the Orient and Occident.
Fine impression with very fresh colours.

Original engraving. Vue d'optique heightened in watercolour, depicting a view of the Lord Mayor's residence in London.
Vues d'optique, also called vues, perspectives or "mondo nuovo", are engravings that were highly fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Vues d'optique can be considered the precursors to three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Vues d'optique appear to have emerged in the 1740s and were drawing-room entertainments. The process was first developed in Paris, then London and finally in Germany, and sought to represent - in an idealized manner - the most famous panoramas and landscapes of the Orient and Occident.
Fine impression with very fresh colours.

Original engraving. Hand-colored optical view in watercolor, depicting a view of the Dunkirk Exchange.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the predecessors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Hand-colored optical view in watercolor, depicting a view of the Exchange or Trading Lodge in Lyon.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the predecessors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of St Denis taken from the bridge.
Optical views, also called views, perspectives or "mondo nuovo", are engravings very much in vogue between the late 18th and early 19th centuries. They were intended to be viewed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered precursors to three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
A very slight foxing in the upper part of the plate, otherwise a fine proof with very fresh colors.

Original engraving. Optical view heightened in watercolours, depicting a view of the grand square of Tournai.
Optical views, also called vues, perspectives or "mondo nuovo", are engravings very much in vogue between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views appear to have emerged in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and was dedicated to representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colours.

Original engraving. Optical view heightened with watercolors, depicting Saint Eustache Church. Optical views, also known as views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of multiple mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process was first developed in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West. Fine impression with very fresh colors.

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the end of the 16th or very beginning of the 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in an old hand beneath the plate mark: "Le chasseur prend les petits du tigre et met dans des trappes des miroirs qui représentent les petits qu'il a enlevés. Cette bête stupide croyant les voir effectivement, entre dans les filets et hurle, étant prise." ["The hunter takes the tiger cubs and places mirrors in traps that represent the cubs he has taken. This foolish beast, believing it actually sees them, enters the nets and howls, being caught."].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition of preservation for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting from his father, and following his father's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, the trade of engravings, publishing and writing. He trained under Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which would be frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works on projects by Pieter Bruegel the Elder (The Alchemist, 1558), Jan van der Straet, Franz Floris (The Daughters of Lot) and Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin work.

Authentic original engraving executed in burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures in the plate.
Latin legend in the lower part of the engraving.
Manuscript translation in old handwriting under the plate mark: "Des chasseurs par le commandement du roi de France cherchent beaucoup de fientes de cerfs et donnent les crottes des jeunes cerfs aux chiens afin que par l'odeur ils apprennent à connaitre l'âge des cerfs.." ["Hunters by command of the king of France search for much deer dung and give the droppings of young deer to the dogs so that by scent they learn to know the age of the deer"].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper pasted to the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, is a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting from his father, and following his father's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a free master in the guild of Antwerp painters. He then began a journey through Europe: in France, then in Italy, where he first stayed in Venice, before settling in Florence. He worked there for Cosimo I de' Medici and collaborated with Giorgio Vasari for the decoration of the Studiolo of Francesco I de' Medici, and for that of the Clement VII hall of the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of great Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, is a Flemish engraver, member of a famous family of engravers. He practiced copper engraving, drawing, engraving commerce, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works on projects by Pieter Bruegel the Elder (The Alchemist, 1558), Jan van der Straet, Franz Floris (Lot's Daughters) and Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Impression on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures within the plate.
Latin caption in the lower portion of the engraving.
Manuscript translation in old handwriting below the plate mark: "On dit que la Barbarie produit de très bons chameaux que chassent les soldats de la marine pressés par la faim. Cette viande quoique très dure les rassasie." ["It is said that Barbary produces very good camels which are hunted by sailors pressed by hunger. This meat, although very tough, satisfies them."].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper pasted along the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, called Giovanni Stradano or Jan van der Straet, is a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was admitted as master to the guild of Antwerp painters. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decorations planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, is a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, print dealing, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp print production. Philippe Galle created some of his most admirable works based on designs by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin work.

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Impression on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures within the plate.
Latin caption in the lower portion of the engraving.
Manuscript translation in old handwriting below the plate mark: "Souvent un chasseur tombe sans prendre garde dans des cavernes ou des grottes couvertes d'herbes par dessus d'où ses compagnons ne peuvent le retirer, mais il meurt malheureusement et demeure la pature des serpents qui y sont et des hydres" ["Often a hunter falls unawares into caverns or grottoes covered with grass above, from which his companions cannot retrieve him, but he dies miserably and remains food for the serpents and hydras dwelling there"].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper pasted along the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, called Giovanni Stradano or Jan van der Straet, is a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was admitted as master to the guild of Antwerp painters. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decorations planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, is a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, print dealing, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp print production. Philippe Galle created some of his most admirable works based on designs by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin work.

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or early 17th century.
Artists' signatures in the plate.
Latin legend in the lower portion of the engraving.
Manuscript translation in old handwriting below the plate mark: "Le désert d'Appulie nourrit de couleuvres les grues et aussi les cigognes attaquent leurs nichées. Elles engagent le combat avec vigueur de leurs becs et les mordent. Le spectacle est très divertissant pour les colons" ["The desert of Apulia feeds cranes with snakes and also storks attack their broods. They engage in combat vigorously with their beaks and bite them. The spectacle is very entertaining for the colonists"].
Watermark visible by transparency.
The margins of the engraving have been reinforced with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following his father's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII hall in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under Giorgio Vasari's direction, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copper engraving, drawing, the print trade, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he had his own workshop, which would be frequented by his sons, Theodoor and Cornelis, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispijn de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works on designs by Pieter Bruegel the Elder (The Alchemist, 1558), Jan van der Straet, Frans Floris (The Daughters of Lot) and Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Authentic original engraving executed with burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or early 17th century.
Artists' signatures in the plate.
Latin legend in the lower portion of the engraving.
Manuscript translation in old handwriting below the plate mark: "En Italie les vipères se plaisent à se cacher dans les marais. Quand elles entendent un chien aboyer, elles sortent des buissons. On les saisit alors avec une fourche et on les met dans un sac avec une pince. Elles sont préparées comme remède pharmaceutique" ["In Italy vipers enjoy hiding in marshes. When they hear a dog barking, they come out of the bushes. They are then seized with a fork and put in a bag with tongs. They are prepared as pharmaceutical remedy"].
Watermark visible by transparency.
The margins of the engraving have been reinforced with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following his father's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the Clement VII hall in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under Giorgio Vasari's direction, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copper engraving, drawing, the print trade, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he had his own workshop, which would be frequented by his sons, Theodoor and Cornelis, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispijn de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works on designs by Pieter Bruegel the Elder (The Alchemist, 1558), Jan van der Straet, Frans Floris (The Daughters of Lot) and Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Authentic original engraving executed with burin after a 16th century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in old handwriting below the plate mark: "In winter, the porcupine is taken by dogs or in nets, or when it flees to hide in dark holes, hunters pursue them with rakes and hoes".
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper glued to the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: in France, then in Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari for the decoration of the Studiolo of Francesco I de' Medici, and for that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decor planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin.

Authentic original engraving executed in burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in old handwriting below the plate mark: "Le bubale est une espèce de boeuf cruel et féroce. Les chasseurs pour le prendre le lassent en faisant courir et aboyer des chiens après lui, qui le mordent, jusqu'à ce qu'il tombe, n'en pouvant plus" ["The bubale is a species of cruel and ferocious ox. Hunters to catch it lasso it by making dogs run and bark after it, which bite it, until it falls, exhausted"].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was admitted as master to the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, print dealing, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispijn de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp print production. Philippe Galle created some of his most admirable works on designs by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).
Adrian Collaert, born in Antwerp in 1565 and died in 1618, was part of a great family of engravers. Trained in the workshop of his father-in-law Philippe Galle, he began with copperplate engraving before specializing in burin.

Authentic original engraving executed in burin after a 16th-century drawing by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or very early 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in old handwriting below the plate mark: "Ceux qui s'occupent à surprendre les lions dans des filets portent une torche de la main gauche et un bouclier de la droite pour se garantir du feu: les lions fuyant les flammes, se jettent dans les filets qu'on lui a tendu." ["Those who busy themselves with surprising lions in nets carry a torch in the left hand and a shield in the right to protect themselves from fire: the lions fleeing the flames throw themselves into the nets that have been set for them."].
Watermark visible by transparency.
The margins of the engraving have been backed with small pieces of old laid paper glued to the edges on the verso, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting with his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was admitted as master to the Antwerp painters' guild. He then began a journey across Europe: to France, then to Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and on that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced copperplate engraving, drawing, print dealing, publishing and writing. He trained with Hieronymus Cock in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which was frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispijn de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp print production. Philippe Galle created some of his most admirable works on designs by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Authentic original engraving executed in burin after a 16th-century painting by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or early 17th century.
Artist's signature in the plate.
Latin caption in the lower part of the engraving.
Old manuscript translation below the plate mark: "Ainsi se chassent les loutres dans des barques en châne creux. Elles sont frappées dans l'eau avec un trident crochu" ["Thus otters are hunted in boats made of hollow oak. They are struck in the water with a hooked trident"].
Watermark visible by transparency.
The engraving has been mounted and restored with small pieces of old laid paper glued to the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting from his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: in France, then in Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari for the decoration of the Studiolo of Francesco I de' Medici, and for that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of the great Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.

Authentic original engraving executed in burin after a 16th-century painting by Johannes Stradanus.
Proof on watermarked laid paper, work from the late 16th or early 17th century.
Artists' signatures in the plate.
Latin caption in the lower part of the engraving.
Manuscript translation in old handwriting below the plate mark: "Ainsi les canards attachés sur le fleuve chantent, pendant que ceux qui surviennent sont blessés d'un coup de feu et charpillent leurs plumes sur le fleuve" ["Thus the ducks attached on the river sing, while those that come are wounded by gunshot and scatter their feathers on the river"].
Watermark visible by transparency.
The engraving has been mounted and restored with small pieces of old laid paper glued to the edges on the reverse, otherwise fine condition for this very rare engraving.
Johannes Stradanus, known as Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605.
After beginning to learn painting from his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He then began a journey across Europe: in France, then in Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari for the decoration of the Studiolo of Francesco I de' Medici, and for that of the hall of Clement VII in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of the great Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.
Philippe Galle, born in Haarlem in 1537 and died in Antwerp in March 1612, was a Flemish engraver, member of a famous family of engravers. He practiced engraving on copper, drawing, the commerce of engravings, publishing and writing. He trained under Hieronymus Cock, in Antwerp, where he engraved drawings by Pieter Bruegel the Elder, notably the series of the Seven Deadly Sins. He then became the engraver of Maarten van Heemskerck. From 1557, he owned his own workshop, which would be frequented by his sons, Theodore and Cornelius, as well as by his son-in-law, Adriaen Collaert, the Wierix brothers, Hendrick Goltzius, Crispin de Passe the Elder and other members of the Collaert family. His workshop was at the center of Antwerp engraving production. Philippe Galle created some of his most admirable works based on projects by Pieter Bruegel the Elder (The Alchemist, 1558), by Jan van der Straet, by Franz Floris (The Daughters of Lot) and by Gillis Congnet (Aenevm Saecvlvm and the four ages of humanity, 1575).

Original engraving executed with burin after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Impression on watermarked laid paper, work from the early 17th century. This is an illustration of a passage from the Acts of the Apostles, 5.19-20: "But the angel of the Lord by night opened the prison doors, and brought them forth, and said, Go, stand and speak in the temple to the people all the words of this life.". Latin caption in the lower portion of the engraving. Artist's signature in the plate. Numbered notation "10" in the lower right corner, within the engraving. Manuscript notation "143" in the margin in the upper right corner of the plate. An early manuscript annotation in Greek characters below the plate mark. Crown watermark visible by transparency. Occasional light foxing and small dampstains principally marginal, otherwise very handsome condition for this extremely rare engraving of great freshness. Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.

Original engraving executed with burin after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Impression on watermarked laid paper, work from the early 17th century. This is an illustration of a passage from the Acts of the Apostles, 8.38-39: "And he commanded the chariot to stand still: and they went down both into the water, both Philip and the eunuch; and he baptized him. And when they were come up out of the water, the Spirit of the Lord caught away Philip, that the eunuch saw him no more.". Latin caption in the lower portion of the engraving. Artist's signature in the plate. Numbered notation "15" in the lower right corner, within the engraving. Manuscript notation "143" in the margin in the upper right corner of the plate. An early manuscript annotation in Greek characters below the plate mark. Crown watermark visible by transparency. Occasional light foxing and small dampstains principally marginal, one skilful marginal restoration using a small piece of transparent filmoplast on the verso, otherwise very handsome condition for this extremely rare engraving of great freshness. Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.

Original engraving executed with burin after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Proof on watermarked laid paper, early 17th-century work.This is an illustration of a passage from Acts of the Apostles, 9.1-3: "Cependant Saul, respirant encore la menace et le meurtre contre les disciples du Seigneur, se rendit chez le souverain sacrificateur, et lui demanda des lettres pour les synagogues de Damas, afin que, s'il trouvait des partisans de la nouvelle doctrine, hommes ou femmes, il les amenât liés à Jérusalem. Comme il était en chemin, et qu'il approchait de Damas, tout à coup une lumière venant du ciel resplendit autour de lui" ["But Saul, still breathing threats and murder against the disciples of the Lord, went to the high priest and asked him for letters to the synagogues at Damascus, so that if he found any belonging to the Way, men or women, he might bring them bound to Jerusalem. Now as he went on his way, he approached Damascus, and suddenly a light from heaven shone around him"].Latin caption in the lower part of the engraving.Artist's signature in the plate.Numbered mention "16" in the lower right corner, within the engraving.Manuscript notation "149" in margin in the upper right corner of the plate.An old manuscript annotation in Greek characters below the plate mark.Crown watermark visible by transparency.Rare and discreet foxing and small dampstains mainly marginal, otherwise very fine condition for this extremely rare engraving of great freshness.Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.

Original engraving executed with burin after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Proof on watermarked laid paper, early 17th-century work. Latin caption in the lower part of the engraving. Artist's signature in the plate. Numbered mention "17" in the lower right corner, within the engraving. Manuscript notation "150" in margin in the upper right corner of the plate. Crown watermark visible by transparency. An old manuscript annotation in Greek characters below the plate mark.
This is an illustration of a passage from Acts of the Apostles, 9.22-25: "Cependant Saul se fortifiait de plus en plus, et il confondait les Juifs qui habitaient Damas, démontrant que Jésus est le Christ. Au bout d'un certain temps, les Juifs se concertèrent pour le tuer, et leur complot parvint à la connaissance de Saul. On gardait les portes jour et nuit, afin de lui ôter la vie. Mais, pendant une nuit, les disciples le prirent, et le descendirent par la muraille, dans une corbeille." ["But Saul increased all the more in strength, and confounded the Jews who lived in Damascus by proving that Jesus was the Christ. When many days had passed, the Jews plotted to kill him, but their plot became known to Saul. They were watching the gates day and night in order to kill him, but his disciples took him by night and let him down through an opening in the wall, lowering him in a basket."]
Rare and discreet foxing and small dampstains mainly marginal, otherwise very fine condition for this extremely rare engraving of great freshness.
Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.

Original engraving executed with burin by Claes Jansz Visscher, called the Piscator, after a 16th century painting by Johannes Stradanus.
Proof on watermarked laid paper, early 17th century work.This illustrates a passage from Acts of the Apostles, 16.12-14: "From there we traveled to Philippi, a Roman colony and the leading city of that district of Macedonia. And we stayed there several days. On the Sabbath we went outside the city gate to the river, where we expected to find a place of prayer. We sat down and began to speak to the women who had gathered there. One of those listening was a woman from the city of Thyatira named Lydia, a dealer in purple cloth. She was a worshiper of God. The Lord opened her heart to respond to Paul's message.".Latin caption in the lower portion of the engraving.Artists' signatures in the plate.Numbered reference "27" in the lower right corner, within the engraving.Manuscript notation "160" in margin in the upper right corner of the plate.An old manuscript annotation in Greek characters below the plate mark.Crown watermark visible by transparency.Very rare and discrete marginal foxing, a skillful restoration using a small piece of transparent filmoplast on the verso, otherwise fine condition for this extremely rare engraving of great freshness.Johannes Stradanus, called Giovanni Stradano or Jan van der Straet, was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605. After beginning to learn painting from his father, and following his death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He began a journey across Europe: to France, then to Italy, where he first stayed in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari on the decoration of the Studiolo of Francesco I de' Medici, and that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under the direction of Giorgio Vasari, with creating the gigantic decoration planned for the entry into Florence of Joanna of Austria

, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.

Original engraving executed in burin by Claes Jansz Visscher, called le Piscator after a 16th-century painting by Johannes Stradanus.
Impression on watermarked laid paper, work from the early 17th century.
This is an illustration of a passage from Acts of the Apostles, 19.13-16: "Then certain of the vagabond Jews, exorcists, took upon them to call over them which had evil spirits the name of the Lord Jesus, saying, We adjure you by Jesus whom Paul preacheth. And there were seven sons of one Sceva, a Jew, and chief of the priests, which did so. And the evil spirit answered and said, Jesus I know, and Paul I know; but who are ye? And the man in whom the evil spirit was leaped on them, and overcame them, and prevailed against them, so that they fled out of that house naked and wounded." Latin caption in the lower portion of the engraving. Artists' signatures in the plate. Numbered notation "29" in the lower right corner, within the engraving. Manuscript notation "162" in margin in the upper right corner of the plate. An old manuscript annotation in Greek characters below the platemark. Crown watermark visible by transparency. Minimal foxing and light marginal dampstaining, not affecting the engraving, otherwise very fine condition for this extremely rare engraving of great freshness. Johannes Stradanus, called Giovanni Stradano or Jan van der Straet was a Flemish painter and engraver, born in Bruges in 1523 and died in Florence on February 11, 1605. After beginning to learn painting from his father, and following the latter's death, he continued his training in the workshop of Maximiliaan Frank (from 1535 to 1537), then in that of Pieter Aertsen in Antwerp (from 1537 to 1540). In 1545, he was received as a master in the Antwerp painters' guild. He began a journey through Europe: in France, then in Italy, where he stayed first in Venice, before settling in Florence. There he worked for Cosimo I de' Medici and collaborated with Giorgio Vasari for the decoration of the Studiolo of Francesco I de' Medici, and that of the Clement VII room in the Palazzo Vecchio. In 1565, he was part of the teams of painters and sculptors charged, under Giorgio Vasari's direction, with creating the gigantic décor planned for the entry into Florence of Joanna of Austria, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian history painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.

Original engraving executed in burin after a 16th-century painting by Maarten de Vos (or Martin).
Proof on watermarked laid paper, work from the early 17th century.
This is an illustration from the Book of Tobit (2.9.), in the Old Testament: "But Tobit, fearing God more than the king, took away the bodies of those who had been killed, hid them in his house and buried them during the night.".
Latin legend in the lower part of the engraving.
Artist's signature in the plate.
Numbered marking "8" in the lower right corner of the engraving, and manuscript notation "116" in the margin in the upper right corner.
A manuscript annotation in pencil in Greek characters under the right corner of the plate mark (translation of the legend).
Watermark visible by transparency.
Very rare and minimal foxing mainly marginal, a discreet angular fold mark without damage to the engraving, otherwise very fine condition for this extremely rare engraving of great freshness.
Maarten de Vos (or Martin), Antwerp 1532-1603, is a Flemish painter. He was a pupil of Frans Floris, then completed his training with Tintoretto. We owe him historical paintings in the Mannerist style, notably a 'Saint Paul Bitten by a Viper on the Island of Malta' (1568) which is in the Louvre Museum in Paris.

, on the occasion of her marriage to Francesco I de' Medici. Greatly influenced by the Mannerists, including Michelangelo, Johannes Stradanus contributed to the development of grand Italian historical painting. He painted several altarpieces for Florentine churches. He also stayed in Rome from 1550 to 1553 and in Naples in 1576. After a stay in Antwerp in 1578, he devoted a large part of his activity to engraving.

Original unsigned engraving, probably executed in burin after a 16th century painting by Maarten de Vos (or Martin).
Proof on watermarked laid paper, early 17th century work.
This is an illustration of the Gospel according to Matthew 25.35, "For I was an hungred, and ye gave me meat".
Latin caption in the lower portion of the engraving.
Numbered mark "2" in the lower right corner in the engraving, and manuscript notation "110" in margin in the upper right corner. An old manuscript annotation in Greek characters under the right corner of the plate mark. Watermark visible by transparency. Tiny marginal foxing and stains, a tiny corner lack, a trace of corner fold, all without affecting the engraving, otherwise very fine condition for this extremely rare engraving of great freshness. Maarten de Vos (or Martin), Antwerp 1532-1603, is a Flemish painter. He was a pupil of Frans Floris, then completed his training with Tintoretto. He is known for historical paintings in the Mannerist style, notably 'Saint Paul bitten by a viper on the island of Malta' (1568) which is in the Louvre museum in Paris.

Original engraving executed in burin by Harman Jansz van Muller.
Proof on watermarked laid paper, early 17th century work. This is an illustration of the Gospel according to Matthew 25.16-17, "Then he that had received the five talents went and traded with the same, and made them other five talents. And likewise he that had received two, he also gained other two."
Latin caption in the lower portion of the engraving.
Artist's signature in the plate.
Character mark "Z" at bottom in the engraving, numbered mark "2" in the lower right corner in the caption area, and manuscript notation "104" in margin in the upper right corner. An old manuscript annotation in Greek characters under the right corner of the plate mark. Watermark visible by transparency. Discreet marginal foxing, a small corner dampstain not affecting the engraving, a tiny corner lack, otherwise very fine condition for this extremely rare engraving of great freshness. The engraver Harman Jansz van Muller worked with Cornelis Cort (also known as Cornelio Fiammingo), and may have been his pupil.

Original engraving executed with burin by Harman Jansz van Muller.
Proof on watermarked laid paper, work from the early 17th century.
This is an illustration of the Gospel according to Matthew 25:18, "And he that had received one went and digged in the earth, and hid his lord's money."
Legend in Latin in the lower part of the engraving.
Artist's signature in the plate. Numbered mentions "3" at the bottom in the engraving and in the lower right corner in the section devoted to the legend, and manuscript mention "105" in the margin in the upper right corner. An old manuscript annotation in Greek characters under the right angle of the plate mark. Watermark visible by transparency. Rare and discreet foxing mainly marginal, light traces of marginal dampstaining not touching the engraving, a tiny corner lack, an old marginal restoration using a paper strip, otherwise very handsome state of preservation for this extremely rare engraving of great freshness. The engraver Harman Jansz van Muller worked with Cornelis Cort (also known as Cornelio Fiammingo), and was perhaps his pupil.

Original engraving unsigned, executed with burin, likely by Harman Jansz van Muller.
Proof on watermarked laid paper, work from the early 17th century. This is an illustration of the Gospel according to Matthew 25:19, "After a long time the lord of those servants cometh, and reckoneth with them."
Legend in Latin in the lower part of the engraving.
Numbered mentions "4" at the bottom in the engraving and in the lower right corner in the section devoted to the legend, and manuscript mention "106" in the margin in the upper right corner. An old manuscript annotation in Greek characters under the right angle of the plate mark. Watermark visible by transparency. Rare and discreet marginal foxing, light traces of marginal dampstaining not touching the engraving, a tiny corner lack, otherwise very handsome state of preservation for this extremely rare engraving of great freshness. The engraver Harman Jansz van Muller worked with Cornelis Cort (also known as Cornelio Fiammingo), and was perhaps his pupil.

Original unsigned engraving executed with burin, presumably by Harman Jansz van Muller.
Proof on watermarked laid paper, early 17th-century work.
This is an illustration of the Gospel according to Matthew 25.20-23, "And he who had received the five talents came forward, bringing five talents more, saying, 'Master, you delivered to me five talents; here I have made five talents more.' His master said to him, 'Well done, good and faithful servant. You have been faithful over a little; I will set you over much. Enter into the joy of your master.' And he also who had the two talents came forward, saying, 'Master, you delivered to me two talents; here I have made two talents more.' His master said to him, 'Well done, good and faithful servant. You have been faithful over a little; I will set you over much. Enter into the joy of your master.'" Latin caption in the lower part of the engraving. Numbered references "5" at the bottom of the engraving and in the lower right corner in the caption section, and manuscript notation "107" in the margin in the upper right corner. An old manuscript annotation in Greek characters below the right corner of the plate mark. Watermark visible by transparency. Rare and discrete marginal foxing, light stains and traces of marginal dampstaining not affecting the engraving, a minimal corner lack, otherwise very fine condition for this extremely rare engraving of great freshness. The engraver Harman Jansz van Muller worked with Cornelis Cort (also known as Cornelio Fiammingo), and may have been his pupil.

Original engraving executed with burin after a 16th-century painting by Maarten de Vos (or Martin).
Proof on watermarked laid paper, early 17th-century work.
This is an illustration of the Gospel according to Matthew 25.35, "I was thirsty, and you gave me drink".
Latin caption in the lower part of the engraving. Artist's signature in the plate. Numbered reference "3" in the lower right corner of the engraving, and manuscript notation "111" in the margin in the upper right corner.
An old manuscript annotation in Greek characters below the right corner of the plate mark. Watermark visible by transparency.
Rare and minimal foxing and marginal stains, not affecting the engraving, otherwise very fine condition for this extremely rare engraving of great freshness. Maarten de Vos (or Martin), Antwerp 1532-1603, was a Flemish painter. He was a pupil of Frans Floris, then completed his training with Tintoretto. He is credited with historical paintings in the Mannerist style, notably a 'Saint Paul Bitten by a Viper on the Island of Malta' (1568) which is in the Louvre Museum in Paris.

Original unsigned engraving, presumably executed with burin after a 16th-century painting by Maarten de Vos (or Martin).
Proof on watermarked laid paper, work of early 17th century. This is an illustration of the Gospel according to Matthew 25.36, "I was sick, and you visited me".
Latin caption in the lower portion of the engraving.
Numbered notation "6" in the lower right corner within the engraving, and manuscript notation "114" in the margin in the upper right corner. An old manuscript annotation in Greek characters below the right corner of the plate mark. Watermark visible by transparency. Rare and minimal foxing and stains mainly marginal, one tiny corner loss, otherwise very fine condition for this extremely rare engraving of great freshness. Maarten de Vos (or Martin), Antwerp 1532-1603, was a Flemish painter. He was a pupil of Frans Floris, then completed his training with Tintoretto. He is credited with historical paintings in the Mannerist style, notably a 'Saint Paul Bitten by a Viper on the Island of Malta' (1568) which is in the Louvre Museum in Paris.

Original engraving executed with a burin after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Proof on watermarked laid paper, early 17th-century work.
This is an illustration of the Gospel according to Matthew 6-10, "Thy will be done on earth as it is in heaven" (the Lord's Prayer).
Latin caption in the lower portion of the engraving.
Artist's signatures in the plate. Numbered notations "3" at lower left in the engraving and in the lower right corner in the area reserved for the caption, and manuscript notation "49" in the margin in the upper right corner. Crown watermark visible by transparency. Minimal foxing and dampstains mainly marginal, small corner stains not affecting the engraving, one tiny corner lack, two skillful restorations using small pieces of filmoplast on the verso, otherwise very fine condition for this extremely rare engraving of great freshness. Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.

Original engraving executed in burin after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin.
Impression on watermarked laid paper, work from the early 17th century.
This is an illustration of the Gospel according to Matthew 6-11, "Give us this day our daily bread." (from the Lord's Prayer).
Latin caption in the lower part of the engraving.
Artist's signatures in the plate.
Numbered mention "4" in the lower right corner within the engraving, and manuscript notation "50" in the margin in the upper right corner. Crown watermark visible by transparency. Minimal foxing and dampstains mainly marginal, small corner stains not affecting the engraving, one skillful restoration using a very small piece of filmoplast on verso, otherwise very fine condition for this extremely rare engraving of great freshness. Maerten Jacobszoon Heemskerk van Veen or Maarten van Heemskerck, Marten, Maerten, Martin (1498 in Heemskerk - October 1st, 1574 in Haarlem), is one of the major portraitists and history painters of the Netherlands. He is famous for his series of the Seven Wonders of the World.