Crispin De Passe

Hortus Floridus Tulips

1614

Title : Altra veduta del medesimo in prospettiva, fra una lampada e un piccolo vaso in bronzo Artist proof, with a good contrast and sharp details, printed on antique laid paper, lar...

Francisco José de Goya y Lucientes (1746 Fuendetodos – Bordeaux 1828), No se puede saber por qué – One can’t tell why ca. 1808–1814, etching, burnished aquatint, drypoint, an...

This early 19th century framed 35" x 31" engraving by artist Amand-Durand depcits an etching of 'Jesus and the Woman at the Well,' after the Dutch master, Rembrandt van Rijn. This poignant Biblical story is depicted by Arman-Durand in Rembrandt style...

Engraving on hand made laid paper, 8 1/2 x 5 7/8 inches (210 x 148 mm), thread margins. An approximately 1-inch vertical repaired tear extends into the image area at the top center ...

Etching and drypoint on cream laid paper, 4 x 3 3/8 inches (102 x 86 mm), 1/4 inch margins. Signed in the plate, lower left corner. The 3rd state (of 6), after the rounding of the pl...

Chiaroscuro woodcut with underlying engraving on cream laid paper, printed from two blocks in brown and olive. 10 1/4 x 12 3/4 inches (260 x 321 mm) (plate), full margins with the text printing clearly below in black ink. In very good condition with scattered surface soiling and several minor flecks of light discoloration in the margins, especially in the area of the lower right corner, well outside of image area. Unobtrusive notations in pencil in the margin and on the verso. All condition issues are consistent with age. After a drawing of the same title by Polidoro da Caravaggio...

By Giuseppe Vasi after Giovanni Piranesi: Etching and engraving with hand coloring in watercolor on laid paper with an E and R watermark, full margins. Minor...

(after Anthonie Van Dyck) Engraving on cream laid paper, 9 1/4 x 6 3/8 inches (234 x 161 mm), full margins. Water stain throughout bottom, diagonal creases in the area of the bottom right corner, paper tape along top edge on recto. A very well inked impression. __________Flemish painter and engraver Paulus Pontius was born in Antwerp in 1603, and it was in this city that his full life would unfold. At the young age of 13, he was apprenticed to the still life painter Osias Beert, and subsequently to Lucas Vosterman, who was heavily associated with the workshop of Peter Paul Rubens. Vosterman trained Pontius in the skill of engraving, which he took to immediately, finding he had great skill at recreating paintings. Pontius was able to capture the minutiae of light and shadow found on the canvas, and mastered the ability to accurately render the subtleties of brushwork in this alternate media. His success as an engraver cemented his role in the workshop of Rubens, and in 1624, when Vosterman found himself at odds with Rubens, and left Antwerp for England, Pontius assumed his role as foremost engraver in the workshop. It was in this year that Pontius took up lodgings in Rubens's home, and continued to live there until 1631, when courtship and marriage (the first of three) brought him away. After the death of Rubens in 1640, Pontius embarked on a very successful career engraving reproductions of master works by artists including Rubens, Anthony van Dyck, Jacob Jordaens, Pieter van Avont, Abraham van Diepenbeeck...

Etching, engraving and stippling on cream laid paper with an indiscernible watermark in the sheet center, 11 15/16 x 8 3/16 inches (302 x 207 mm), trimmed at the plate mark. A very g...

Rome: Nicolas van Aelst, 1613. Engraving on cream laid paper with a foolscap watermark, 8 x 11 1/4 inches (203 x 282 mm), thread margins. Scattered expert repairs including minor pu...