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16th-18th Century Prints

Antique prints, copper engravings, etchings and burins by master engravers from Renaissance to Enlightenment

96 results
16th-18th Century Prints
  1. Divers habillemens des anciens grecs et romains
    Sébastien LE CLERC

    Divers habillemens des anciens grecs et romains

    Jeaurat|Paris 1706|13 x 20.80 cm|relié
    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...
    €550
  2. Vue d'optique - Vue perspective de la Revue de la Maison du Roy.
    ANONYME

    Vue d'optique - Vue perspective de la Revue de la Maison du Roy.

    Chez Daumont et Lachaussée|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €150
  3. So shiseki gafu
    SO SHISEKI

    So shiseki gafu

    Suhara Yashiroemon|Edo [Tokyo] 1765|16 x 26.50 cm|cousu
    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...
    €800
  4. Paysages animés
    Nicolaes PIETERSZ BERCHEM

    Paysages animés

    Landry|1660 (S.d.)|20.50 x 31 cm|relié
    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...
    €600
  5. Veue grottes et fontaines de jardins à l'italienne inventez et gravez par I. le Pautre
    Jean LEPAUTRE

    Veue grottes et fontaines de jardins à l'italienne inventez et gravez par I. le Pautre

    Chez Pierre Mariette|Paris 1650 (S.d.)|20.50 x 31 cm|relié
    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...
    €500
  6. Grottes & veües de Jardins inventées et gravées par Jean le Pautre
    Jean LEPAUTRE

    Grottes & veües de Jardins inventées et gravées par Jean le Pautre

    Pierre Mariette|à Paris 1650 (S.d.)|20.50 x 31 cm|relié
    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.
    €600
  7. "La Vertu chancelante" signée par le peintre
    Jean Baptiste GREUZE

    "La Vertu chancelante" signée par le peintre

    Chez J. B. Greuze|Paris 1776|35 x 50 cm|une feuille
    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...
    €2,300
  8. Vue d'optique - Décoration du feu d'artifice tiré à Londres en réjouissance de la paix en 1763

    Vue d'optique - Décoration du feu d'artifice tiré à Londres en réjouissance de la paix en 1763

    Chez Mondhare (1734-1799)|Paris circa 1765|32 x 46 cm|une feuille
    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...
    €230
  9. La vie de St. Bruno, fondateur de l'ordre des Chartreux
    François CHAUVEAU, Eustache LE SUEUR

    La vie de St. Bruno, fondateur de l'ordre des Chartreux

    Chez René Cousinet|à Paris s. d. [ca 1660]|27.50 x 41 cm|relié

    The rare first edition, illustrated with a title-frontispiece and 22 plates after paintings by Eustache Le Sueur and engraved by François Chauveau. Captions of the engravings in two columns, one verse in Latin, with its translation alongside. Brunet III, 1020.
    Half chocolate-brown glazed shagreen binding circa 1860 with corners, signed L. Fixon at the bottom of the last leaf. Jansenist spine with raised bands. Engraved title, as well as the initials S. D. Tears with lacks to the lower board. Cut to one corner of the lower board and corner slightly bumped. Some rubbing. Fine copy, very fresh.
    Le Sueur painted between 1645 and 1648 the cycle of the life of Saint Bruno, a set of 22...

    €1,200
  10. Vue d'optique - Vue des bains chinois prise du boulevart des Capucines

    Vue d'optique - Vue des bains chinois prise du boulevart des Capucines

    Chez Basset|Paris circa 1800|30.50 x 48.50 cm|une feuille
    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...
    €150
  11. Vue d'optique - Vue du Palais de la chambre des députés

    Vue d'optique - Vue du Palais de la chambre des députés

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €200
  12. Vue d'optique - La Place royale à Paris

    Vue d'optique - La Place royale à Paris

    Chez Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €200
  13. Vue d'optique - Vue du Palais de la Bourse

    Vue d'optique - Vue du Palais de la Bourse

    Chez Basset|Paris circa 1800|30.50 x 48.50 cm|une feuille
    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...
    €200
  14. Vue d'optique - Vue du château royal de Compiègne

    Vue d'optique - Vue du château royal de Compiègne

    Chez Basset|Paris circa 1800|30.50 x 48.50 cm|une feuille
    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...
    €150
  15. Vue d'optique - Vue de l'école royale militaire

    Vue d'optique - Vue de l'école royale militaire

    Chez Basset|Paris circa 1800|30.50 x 48.50 cm|une feuille
    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...
    €230
  16. Vue d'optique - Vue de la Porte Saint Martin

    Vue d'optique - Vue de la Porte Saint Martin

    Chez Basset|Paris circa 1800|30.50 x 48.50 cm|une feuille
    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...
    €200
  17. Vue d'optique - Vue de la Nouvelle galerie

    Vue d'optique - Vue de la Nouvelle galerie

    Chez Basset|Paris circa 1800|30.50 x 48.50 cm|une feuille
    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...
    €180
  18. Vue d'optique - Le Château royal de Versailles du côté de l'avenue de Paris

    Vue d'optique - Le Château royal de Versailles du côté de l'avenue de Paris

    Chez Daumont|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €200
  19. Vue d'optique - Galerie élevée dans la place de Grêve à l'occasion de la naissance de Msgr le Dauphin
    ANONYME

    Vue d'optique - Galerie élevée dans la place de Grêve à l'occasion de la naissance de Msgr le Dauphin

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €230
  20. Vue d'optique - Vue du palais royal à Bruxelles.

    Vue d'optique - Vue du palais royal à Bruxelles.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €180
  21. Vue d'optique - Vue perspective du pont de la Trinité de Florence.

    Vue d'optique - Vue perspective du pont de la Trinité de Florence.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €150
  22. Vue d'optique - Vue intérieure de Saint Pierre de Rome.

    Vue d'optique - Vue intérieure de Saint Pierre de Rome.

    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €150
  23. Vue d'optique - Vue du fameux théâtre de Marcellus à Rome.

    Vue d'optique - Vue du fameux théâtre de Marcellus à Rome.

    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €180
  24. Vue d'optique - Vue intérieure de la cathédrale de Dorth.

    Vue d'optique - Vue intérieure de la cathédrale de Dorth.

    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €150
  25. Vue d'optique - Vue de l'église St Giles à Édimbourg.

    Vue d'optique - Vue de l'église St Giles à Édimbourg.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €180
  26. Vue d'optique - Vue de la chapelle St Paul à Édimbourg prise de la place d'Yorck.

    Vue d'optique - Vue de la chapelle St Paul à Édimbourg prise de la place d'Yorck.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €180
  27. Vue d'optique - La grande rue et l'église Ste Marie de Londres.

    Vue d'optique - La grande rue et l'église Ste Marie de Londres.

    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €150
  28. Vue d'optique - La grande procession de Florence, le jour de la fête de Dieu.

    Vue d'optique - La grande procession de Florence, le jour de la fête de Dieu.

    Chez Daumont, Basset et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €180
  29. Vue d'optique - Vue de la fontaine des eaux chaudes et de la place d'Aix la Chapelle.

    Vue d'optique - Vue de la fontaine des eaux chaudes et de la place d'Aix la Chapelle.

    Chez Jacques Chereau|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €200
  30. Vue d'optique - Le marché aux chevaux à Francfort sur le Mein.

    Vue d'optique - Le marché aux chevaux à Francfort sur le Mein.

    Chez Daumont et Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €200
  31. Vue d'optique - Vue du pont de Vienne en Autriche.

    Vue d'optique - Vue du pont de Vienne en Autriche.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €150
  32. Vue d'optique - L'hôtel des ambassadeurs, à la Cour de Vienne, prise côté du jardin.

    Vue d'optique - L'hôtel des ambassadeurs, à la Cour de Vienne, prise côté du jardin.

    Chez Jacques Chereau|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €150
  33. Vue d'optique - Vue de la place et des casernes de Top-Hané à l'entrée du port de Constantinople.

    Vue d'optique - Vue de la place et des casernes de Top-Hané à l'entrée du port de Constantinople.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €300
  34. Histoire de la gravure, en Italie, en Espagne, en Allemagne, dans les Pays-bas, en Angleterre et en France ; suivis d'indications pour former une collection d'estampes
    Georges DUPLESSIS

    Histoire de la gravure, en Italie, en Espagne, en Allemagne, dans les Pays-bas, en Angleterre et en France ; suivis d'indications pour former une collection d'estampes

    Hachette|Paris 1880|18.50 x 27.50 cm|relié
    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
    €550
  35. Vue d'optique - Le Pont Saint Ange à Rome
    ANONYME

    Vue d'optique - Le Pont Saint Ange à Rome

    Chez Daumont|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €150
  36. Vue d'optique - La Vue de Saint Pierre de Rome
    ANONYME

    Vue d'optique - La Vue de Saint Pierre de Rome

    Chez Daumont et Lachaussée|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €180
  37. Vue d'optique - Vue de l'Académie Royale de Peinture à Rome
    ANONYME

    Vue d'optique - Vue de l'Académie Royale de Peinture à Rome

    Chez Lachaussée|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €150
  38. Vue d'optique - Vue du Palais Quirinal à Rome
    ANONYME

    Vue d'optique - Vue du Palais Quirinal à Rome

    Chez Lachaussée|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €150
  39. Vue d'optique - Vue de l'Eglise de St Jean de Latran à Rome
    ANONYME

    Vue d'optique - Vue de l'Eglise de St Jean de Latran à Rome

    Chez Daumont et Lachaussée|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €150
  40. Vue d'optique - Vue perspective de la grande Place du peuple, à Rome

    Vue d'optique - Vue perspective de la grande Place du peuple, à Rome

    Chez Daumont et Lachaussée|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €150
  41. Vue d'optique - Les Boulevards de Paris pris de la Porte du Temple
    ANONYME

    Vue d'optique - Les Boulevards de Paris pris de la Porte du Temple

    Chez Daumont et Lachaussée|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €150
  42. Vue d'optique - Vue des trois galleries, du Palais des Arts et des Sciences à Rome
    ANONYME

    Vue d'optique - Vue des trois galleries, du Palais des Arts et des Sciences à Rome

    Chez Daumont et Lachaussée|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €150
  43. Vue d'optique - Vue du fameux théâtre de Marcellus à Rome
    ANONYME

    Vue d'optique - Vue du fameux théâtre de Marcellus à Rome

    Chez Daumont et Lachaussée|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €150
  44. Vue d'optique - Vue perspective de la Revue de la Maison du Roy.
    ANONYME

    Vue d'optique - Vue perspective de la Revue de la Maison du Roy.

    Chez Daumont et Lachaussée|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €150
  45. Vue d'optique - L'intérieur de Saint Paul de Rome
    ANONYME

    Vue d'optique - L'intérieur de Saint Paul de Rome

    Chez Daumont et Lachaussée|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €150
  46. Vue d'optique - L'intérieur de l'église Saint Sulpice

    Vue d'optique - L'intérieur de l'église Saint Sulpice

    Chez Chéreau|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €180
  47. Vue d'optique -Vue de la colonnade du Louvre

    Vue d'optique -Vue de la colonnade du Louvre

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €200
  48. Vue d'optique - Vue du Palais d'Holyrood en Ecosse

    Vue d'optique - Vue du Palais d'Holyrood en Ecosse

    Chez Hocquart|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €180
  49. Vue d'optique - Vue de l'église St Ouen à Rouen prise du jardin des plantes

    Vue d'optique - Vue de l'église St Ouen à Rouen prise du jardin des plantes

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €200
  50. Vue d'optique - Vue perspective de la revue de la maison du roi. Infanterie qui se fait tous les ans dans la pleine des Sablons, à une lieu de Paris

    Vue d'optique - Vue perspective de la revue de la maison du roi. Infanterie qui se fait tous les ans dans la pleine des Sablons, à une lieu de Paris

    Chez J. Chereau|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €200
  51. Vue d'optique - L'Abbaye de Westminster et de l'Eglise Sainte Marguerite à Londres

    Vue d'optique - L'Abbaye de Westminster et de l'Eglise Sainte Marguerite à Londres

    Chez Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €150
  52. Vue d'optique - Vue du cours de Marseille

    Vue d'optique - Vue du cours de Marseille

    Chez Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €230
  53. Vue d'optique - L'Intérieur de l'Abbaye de Westminster

    Vue d'optique - L'Intérieur de l'Abbaye de Westminster

    Chez Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €150
  54. Vue d'optique - Vue intérieure de la Bourse royale à Londres

    Vue d'optique - Vue intérieure de la Bourse royale à Londres

    Chez Lachaussée|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €150
  55. Vue d'optique - Vue de l'Hôtel du Lord Maire à Londres

    Vue d'optique - Vue de l'Hôtel du Lord Maire à Londres

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €150
  56. Vue d'optique - Vue de la Bourse de Dunkerque

    Vue d'optique - Vue de la Bourse de Dunkerque

    Chez J. Chereau|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €250
  57. Vue d'optique - Bourse ou Loge des changes à Lyon

    Vue d'optique - Bourse ou Loge des changes à Lyon

    Chez J. Chereau|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €200
  58. Vue d'optique - Vue de St Denis prise du pont

    Vue d'optique - Vue de St Denis prise du pont

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €200
  59. Vue d'optique - Vue de la grande place à Tournay.

    Vue d'optique - Vue de la grande place à Tournay.

    Chez Basset|Paris [circa 1790]|30.50 x 48.50 cm|une feuille
    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...
    €200
  60. Vue d'optique - Élévation perspective du portail de l'église paroissiale de St Eustache à Paris
    ANONYME

    Vue d'optique - Élévation perspective du portail de l'église paroissiale de St Eustache à Paris

    Chés Lachaussée|Paris [circa 1790]|46 x 33.50 cm|une feuille
    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...
    €150
  61. La capture du tigre
    Johannes STRADANUS, Philippe GALLE

    La capture du tigre

    S. n.|s. l. fin XVIe début XVIIe|34 x 25.50 cm|une feuille
    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...
    €250
  62. L'entrainement des chiens à la chasse aux cerfs
    Johannes STRADANUS, Philippe GALLE

    L'entrainement des chiens à la chasse aux cerfs

    S. n.|s. l. fin XVIe début XVIIe|34 x 25.50 cm|une feuille
    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...
    €250
  63. La chasse aux chameaux
    Johannes STRADANUS, Philippe GALLE

    La chasse aux chameaux

    S. n.|s. l. fin XVIe début XVIIe|34 x 25.50 cm|une feuille
    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...
    €250
  64. La mésaventure du chasseur
    Johannes STRADANUS, Philippe GALLE

    La mésaventure du chasseur

    S. n.|s. l. fin XVIe début XVIIe|34 x 25.50 cm|une feuille
    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...
    €250
  65. Le combat des oiseaux et des couleuvres
    Johannes STRADANUS, Philippe GALLE

    Le combat des oiseaux et des couleuvres

    S. n.|s. l. fin XVIe début XVIIe|34 x 25.50 cm|une feuille
    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...
    €250
  66. La chasse aux vipères
    Johannes STRADANUS, Philippe et Cornelius GALLE

    La chasse aux vipères

    S. n.|s. l. fin XVIe début XVIIe|34 x 25.50 cm|une feuille
    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...
    €250
  67. La chasse aux porcs-épics
    Johannes STRADANUS, Adrian COLLAERT

    La chasse aux porcs-épics

    S. n.|s. l. fin XVIe début XVIIe|34 x 25.50 cm|une feuille
    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...
    €250
  68. La chasse au bubale
    Johannes STRADANUS, Philippe GALLE

    La chasse au bubale

    S. n.|s. l. fin XVIe début XVIIe|34 x 25.50 cm|une feuille
    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...
    €250
  69. La chasse aux lions par le feu
    Johannes STRADANUS, Philippe GALLE

    La chasse aux lions par le feu

    S. n.|s. l. fin XVIe début XVIIe|34 x 25.50 cm|une feuille
    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...
    €250
  70. Chasse des Loutres
    Johannes STRADANUS

    Chasse des Loutres

    S. n.|s. l. s. d. [circa 1590]|34.50 x 26 cm|une feuille
    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...
    €250
  71. Chasse aux canards
    Johannes STRADANUS, Philippe GALLE

    Chasse aux canards

    S. n.|s. l. s. d. [circa 1590]|34 x 25.50 cm|une feuille
    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...
    €250
  72. Gravure originale du XVIIe siècle "Carcere clauduntur nigro mandate senatu Discipuli, sed lux Divina repagula porte Perfregit, duxitque viros ad limina templi, Sacra quibus iussum est miisteria pandere Christi." (Ac. Cap.5.19.)
    Maarten van HEEMSKERCK

    Gravure originale du XVIIe siècle "Carcere clauduntur nigro mandate senatu Discipuli, sed lux Divina repagula porte Perfregit, duxitque viros ad limina templi, Sacra quibus iussum est miisteria pandere Christi." (Ac. Cap.5.19.)Original 17th century burin engraving [The disciples are locked in prison by the black command of the senate, but the divine light breaks through the bars of the gate and leads the men to the thresholds of the temple, to whom it is commanded to reveal the sacred mysteries of Christ]

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33.50 x 27.50 cm|une feuille

    Original burin engraving after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen.
    Printed on watermarked laid paper in 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...

    €180
  73. Conspectis constanter aquis, ardescere cepit Ennuchi fecunda fides, qui gurgite mersus Antiquos posuit lapsus, et nomine Christi Testatur totum purgatum lapsibus orbem. (Ac. Cap.8.38.) Gravure originale du XVIIe siècle
    Maarten van HEEMSKERCK

    Conspectis constanter aquis, ardescere cepit Ennuchi fecunda fides, qui gurgite mersus Antiquos posuit lapsus, et nomine Christi Testatur totum purgatum lapsibus orbem. (Ac. Cap.8.38.) Gravure originale du XVIIe siècle[Constantly gazing at the waters, Ennuchi's fruitful faith began to burn, who, drowned in the whirlpool, laid the ancients to rest, and in the name of Christ testifies that the whole world has been cleansed of its sins]

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33.50 x 27.50 cm|une feuille
    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...
    €200
  74. Gravure originale du XVIIe siècle "Paulus acerba fremens miseris fera bella ciere Judaica feritate parat, sed corpore lapsus Post, maiora videt legisque excitus ab umbra Sub qua cecus erat, regiones lucet in omnes." (Ac. Cap.9.3.)
    Maarten van HEEMSKERCK

    Gravure originale du XVIIe siècle "Paulus acerba fremens miseris fera bella ciere Judaica feritate parat, sed corpore lapsus Post, maiora videt legisque excitus ab umbra Sub qua cecus erat, regiones lucet in omnes." (Ac. Cap.9.3.)Original 17th century burin engraving [Paul, roaring bitterly, prepares to wage savage wars against the wretched with Jewish ferocity, but after falling in body, he sees greater things and, awakened from the shadow of the law under which he was blind, shines upon all regions]

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33.50 x 27.50 cm|une feuille

    Original burin engraving after a 16th-century painting by Maerten Jacobszoon Heemskerk van Veen.
    Print on watermarked laid paper, early 17th-century work.

    This is an illustration of a passage from Acts of the Apostles, 9.1-3: 

    "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...

    €120
  75. In Macedum terris, ad maenia nota Philippi, Cum docet aeterni Paulus miisteria Christi. Sub stimulo Pythonis, ait, bachata puella, Doctorem verique Dei Paulum esse ministrum. (Acto. 16.14.) Gravure originale du XVIIe siècle
    Johannes STRADANUS, [Claes Jansz VISSCHER attributed]

    In Macedum terris, ad maenia nota Philippi, Cum docet aeterni Paulus miisteria Christi. Sub stimulo Pythonis, ait, bachata puella, Doctorem verique Dei Paulum esse ministrum. (Acto. 16.14.) Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille
    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...
    €200
  76. Contremuit subito detentis carcere tellus Et Paulo et Sila, subitoque fragore refracti Carceris attonitus custos parat ense corusco Accelerare sibi fatum, sed fonte Iduatur. (Acto. 16.27.) Gravure originale du XVIIe siècle
    Johannes STRADANUS, [Claes Jansz VISSCHER attributed]

    Contremuit subito detentis carcere tellus Et Paulo et Sila, subitoque fragore refracti Carceris attonitus custos parat ense corusco Accelerare sibi fatum, sed fonte Iduatur. (Acto. 16.27.) Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille
    , 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.
    €200
  77. Ipsa graves tollunt Pauli sudaria morbos Febrilesque leuant Pauli semicincta calores. Exorcistarum conflantur in igne libelli Et Sathan in magicos saeuit crudeliter omnes. (Acto. 19.14.) Gravure originale du XVIIe siècle
    Johannes STRADANUS, [Claes Jansz VISSCHER attributed]

    Ipsa graves tollunt Pauli sudaria morbos Febrilesque leuant Pauli semicincta calores. Exorcistarum conflantur in igne libelli Et Sathan in magicos saeuit crudeliter omnes. (Acto. 19.14.) Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille
    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...
    €150
  78. Tobias plus timens Deum quam regem rapiebat corpora occisorum et occultabat in domo sua et mediis noctibus sepeliebat ea. (Tobi.2 Cap.4.). Gravure originale du XVIIe siècle
    Maarten DE VOS

    Tobias plus timens Deum quam regem rapiebat corpora occisorum et occultabat in domo sua et mediis noctibus sepeliebat ea. (Tobi.2 Cap.4.). Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille
    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...
    €150
  79. Pessime quid bipedum tentas, quid pectore volvis? Vach scelus horrendum Dominum sic prodis Iesum! Vix ausit Pluto quod tu moliris Iuda, Terribili dignus qui tandem morte perires. (Matthei.26.14.). Gravure originale du XVIIe siècle
    Johannes STRADANUS, [Claes Jansz VISSCHER attributed]

    Pessime quid bipedum tentas, quid pectore volvis? Vach scelus horrendum Dominum sic prodis Iesum! Vix ausit Pluto quod tu moliris Iuda, Terribili dignus qui tandem morte perires. (Matthei.26.14.). Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille
    , 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.
    €150
  80. Esurivi enim et dedistis mihi manducare. (Matt. 25.35.). Gravure originale du XVIIe siècle
    Maarten DE VOS

    Esurivi enim et dedistis mihi manducare. (Matt. 25.35.). Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille
    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...
    €150
  81. Abiens autem qui quinquae talenta acceperat et negotiatus lucrifecit alia quinquae similiter et qui duo acceperat alia duo lucrifecit. (Matt. 25.16.). Gravure originale du XVIIe siècle
    Harman Jansz van MULLER

    Abiens autem qui quinquae talenta acceperat et negotiatus lucrifecit alia quinquae similiter et qui duo acceperat alia duo lucrifecit. (Matt. 25.16.). Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille
    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...
    €200
  82. Qui vero unum acceperat abiens fodit in terram et abscondit pecuniam domini sui. (Matt. 25.18.). Gravure originale du XVIIe siècle
    Harman Jansz van MULLER

    Qui vero unum acceperat abiens fodit in terram et abscondit pecuniam domini sui. (Matt. 25.18.). Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33.50 x 27.50 cm|une feuille
    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...
    €200
  83. Post multum vero temporis rediit dominus servorum illorum et contulit rationem cum eis. (Matt. 25.19.). Gravure originale du XVIIe siècle
    Harman Jansz van MULLER

    Post multum vero temporis rediit dominus servorum illorum et contulit rationem cum eis. (Matt. 25.19.). Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille
    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...
    €200
  84. Gravure originale du XVIIe siècle "Et accedens qui quinque talenta acceperat obtulit alia, quinque quae lucrifecerat, similiter et qui duo acceperat obtulit alia duo, quibus ait Dominus, Euge serui boni et fideles quia super pauca fideles fuistis super multa vos constituam Intrate in gaudium domini vestri." (Matt. 25.20.)
    Harman Jansz van MULLER

    Gravure originale du XVIIe siècle "Et accedens qui quinque talenta acceperat obtulit alia, quinque quae lucrifecerat, similiter et qui duo acceperat obtulit alia duo, quibus ait Dominus, Euge serui boni et fideles quia super pauca fideles fuistis super multa vos constituam Intrate in gaudium domini vestri." (Matt. 25.20.)Original 17th century burin engraving - illustration of the Gospel according to Matthew 25.20-23

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille

    Original unsigned burin engraving, presumably by Harman Jansz van Muller.
    Printed on watermarked laid paper in early 17th-century.
    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.' 

    Latin caption in the lower part of the engraving. Numbered references "5" at the bottom of the...

    €180
  85. Sitivi et dedistis mihi bibere. (Matt. 25.35.). Gravure originale du XVIIe siècle
    Maarten DE VOS

    Sitivi et dedistis mihi bibere. (Matt. 25.35.). Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille
    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...
    €150
  86. Infirmus eram et visitastis me. (Matt. 25.36.). Gravure originale du XVIIe siècle
    Maarten DE VOS

    Infirmus eram et visitastis me. (Matt. 25.36.). Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille
    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...
    €100
  87. Panem nostrum quotidianum danobis hodie. (Matt. 6.11.). Gravure originale du XVIIe siècle
    Maarten van HEEMSKERCK

    Panem nostrum quotidianum danobis hodie. (Matt. 6.11.). Gravure originale du XVIIe siècle[You give us our daily bread today]

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille
    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...
    €60
  88. Et dimitte nobis debita nostra sicut et nos dimitimus debitoribus nostris. (Matt. 6.12.). Gravure originale du XVIIe siècle
    Maarten van HEEMSKERCK

    Et dimitte nobis debita nostra sicut et nos dimitimus debitoribus nostris. (Matt. 6.12.). Gravure originale du XVIIe siècle[And forgive us our debts, as we also forgive our debtors]

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|33 x 27.50 cm|une feuille
    Original unsigned engraving, executed in burin, probably 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 6-12, "Forgive us our trespasses, as we also forgive those who trespass against us." (from the Lord's Prayer).
    Latin caption in the lower part of the engraving. Numbered mention "5" in the lower right corner within the engraving, and manuscript notation "51" in the margin in the upper right corner. Crown watermark visible by transparency. Minimal foxing and dampstains...
    €180
  89. Homo quidam erat diues, et induebatur purpura et bisso: et epulabatur quotidie splendidè. Et erat quidam mendicus nomine Lazarus, qui iacebat ad ianuam eius, ulceribus plenus: cupiens saturati de micis, quae cadebant de mensa diuitis, sed et canes veniebant, et lingebant ulcera eius. (Luc 16.19.). Gravure originale du XVIIe siècle
    Claes Jansz VISSCHER

    Homo quidam erat diues, et induebatur purpura et bisso: et epulabatur quotidie splendidè. Et erat quidam mendicus nomine Lazarus, qui iacebat ad ianuam eius, ulceribus plenus: cupiens saturati de micis, quae cadebant de mensa diuitis, sed et canes veniebant, et lingebant ulcera eius. (Luc 16.19.). Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|32.50 x 27.50 cm|une feuille
    Original engraving executed in burin by Claes Jansz Visscher, known as Piscator.
    Proof on watermarked laid paper, work from the early 17th century.
    This is an illustration of the Gospel according to Luke 16.19-21, "There was a rich man, who was clothed in purple and fine linen, and who feasted sumptuously every day. And at his gate lay a poor man named Lazarus, covered with sores, who desired to be fed with what fell from the rich man's table; moreover the dogs came and licked his sores." Latin caption in the lower portion of the engraving.
    Another Latin inscription in the upper right portion of the plate: "Iesus apostolos docens de divite epulone parabolam dicit." Artist's...
    €180
  90. Factum est autem ut moreretur mendicus, et protaretur ab angelis in sinum Abrahae. (Luc 16.22.). Gravure originale du XVIIe siècle
    Claes Jansz VISSCHER

    Factum est autem ut moreretur mendicus, et protaretur ab angelis in sinum Abrahae. (Luc 16.22.). Gravure originale du XVIIe siècle

    S. n.|s. l. • [Hollande] [Holland] (Circa 1600)|32.50 x 27.50 cm|une feuille
    Unsigned original engraving, probably executed in burin by Claes Jansz Visscher, known as Piscator.
    Proof on watermarked laid paper, work from the early 17th century.
    This is an illustration of the Gospel according to Luke 16.22, "The poor man died, and he was carried by the angels into Abraham's bosom."
    Latin caption in the lower portion of the engraving.
    Numbered notation "2" in the lower right corner within the engraving, and manuscript notation "81" in margin in the upper right corner. An old manuscript annotation in Greek characters below the right corner of the plate mark. Crown watermark visible by transparency. Rare and minimal marginal foxing, small corner stains...
    €150
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