After 1632 (45 results)

Bild-Maße: ca. 18 x 20,5 cm. Blatt-Maße: ca. 27 x 40 cm. -- Original Kupferstich. -- leicht gebräunt, sonst gut erhalten. || Original copper engraving. -- slightly browned, otherwise in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 1550. …

Original Kupferstich-Portrait von ca. 1660 - Bild-Maße: ca. 19,4 x 13 cm - Knapp beschnitten und aufgezogen, sonst gut erhalten. | original copper engraved portrait from around 1660 - narrowly cut and mounted on paper, otherwise in very good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.…

Original Kupferstich aus dem 18. Jahrhundert. -- Blatt-Maße: ca. 16 x 21 cm. -- gut erhalten. || Original copper engraving from the 18th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.…

Sehr schöner Kupferstich aus der Serie "Sylvae Sacrae" von ca. 1600. Diese Serie enthält Kupferstiche von Johann und Raphael Sadeler nach Maarten de Vos. -- Blatt-Maße: ca. 19,5 x 27 cm. -- gut erhalten. || Very beautiful engraving from c. 1600 out of the series "Sylvae Sacrae", which contains engravings by Johann and Raphael Sadeler after Maarten de Vos. -- in very good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 10.…

Sehr schöner Kupferstich aus der Serie "Oraculum Anachoreticum" von ca. 1600. Diese Serie enthält Kupferstiche von Johann und Raphael Sadeler nach Maarten de Vos. -- Blatt-Maße: ca. 19,5 x 27 cm. -- gut erhalten. || Very beautiful engraving from c. 1600 out of the series "Oraculum Anachoreticum", which contains engravings by Johann and Raphael Sadeler after Maarten de Vos. -- in very good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 10. …

A woman seated on a bench, facing towards the right, holding a jug, after Cornelis Bega.Signed bottom left: 'c bega'. Etching on paper with small margins; plate mark: 79 x 58 mm, total: 83 x 63; smudges and repairing, the latter visible on verso; copy of Hollstein 12.

A woman seated on a bench, facing towards the right, holding a jug, after Cornelis Bega. Etching on paper with small margins; plate mark: 79 x 58 mm, total: 83 x 63; signed "C. Bega" smudges and repairing, the latter visible on verso; copy of Hollstein 12.

Hardcover. Condition: Fine. Bound in 19th c. paste-paper over boards (edges worn). A fine copy. Illustrated with seven full-page engravings. One leaf with irregular blank edge, not touching the image. Extremely rare. 1 copy traced in North America (Harvard.) No copies of the French original in North America. Rare first German -and first illustrated- edition of this book concerning the natural history of the unicorn and the medicinal-alchemical properties of its horn, written by French hermetic pharmacist & naturalist Laurent Catelan (ca. 1568-1647) and translated from the French by Georg Faber (ca. 1573/75 - after 1632), personal physician to the Landgraf court in Hessen. Faber dedicates his translation to the Landgräfin Anna Margaretha. This was certainly a delicate matter, since the unicorn, which could be tamed and ridden only by a virgin, carried well-known erotic symbolism. The seven illustrations, including the classic image of a unicorn resting its head on a maiden's lap, were engraved by Matthäus Merian the elder (1593-1650) and were not present in the French original, "Histoire de la nature, chasse vertus, proprietez et usage de la lycorne" (Montpellier, 1624), which only featured one image. Catelan's book on the unicorn and the power of its horn is the longest of his three alchemical treatises on rare and marvelous medicinal-alchemical substances (the other two are about the Bezoar and the Mandrake). Catelan tells us that he possessed, in his famous 'cabinet de curiosités', a genuine unicorn horn. Much of the book is devoted to the medicinal uses of the unicorn's horn, believed to be a powerful antidote against all poisons. In the first part of this work, Catelan considers the different kind of unicorns and explains how to separate the real one from the false, i.e. those with a single horn but without the magic power (such as the rhinoceros). He describes how to identify real unicorns, where to find them, and how to hunt them. The true unicorns are not, according to Catelan, the elegant and beautiful white animals as depicted in the Renaissance but wild beasts with invincible strength, that cannot be captured alive. Still he believes that they are drawn to maidens and fall asleep in their laps, but he does not understand why these wild beasts do so. Around 1600, the age-old belief in unicorn horn as an antitoxin began to be called into question. Although the surgeon Ambroise Paré (1510-1590), court physician to four French kings, had to accept, however reluctantly, the existence of the unicorn (since it is mentioned in the Bible), he vehemently denied the supposed medicinal effect of unicorn products. He defended his position by an appeal to ancient and contemporary authorities, by rational argumentation, and by experiment. Paré's arguments failed to convince Catelan, who adhered to an alternative, so-called spagyric, medical theory of neoplatonic inspiration, promoted by Paracelsus and Ficino. Catelan remained convinced of the efficacity of unicorn horn, which in his view could draw any poisonous substance away from the human body. The medical establishment being reluctant to give up a rewarding source of income, 'unicorn' remained much in demand as a prescription. Provenance: With the bookplate of Carl Franz Georg Richard Schwerdt and his wife Mathilde. The Schwerdts assembled a large book collection on hunting and he published the four-volume "Hunting, Hawking, Shooting Illustrated in a Catalogue of Books, Manuscripts, Prints and Drawings". Further reading: W.P. Gerritsen. The unicorn and the pharmacists. in: Gewina 30 (2007), pp. 1-10; Fischer, L. P.; Cossu Ferra Fischer, V. The unicorn and the unicorn horn among apothecaries and physicians; in: History Sci Med 45 (2011), pp. 265 - 274; Olav Laubinger. Krankheit und ärztliche Tätigkeit im Dreißigjährigen Krieg. Landgraf Philipp III. von Hessen-Butzbach und sein Leibarzt und Reisebegleiter Dr. Georg Faber. Philipps-Universität Marburg, 2010-12-29 (Diss. FIRST GERMAN EDITION, THE FIRST WITH ILLUSTRATIONS.…

Copper-engraved map, with full original colour and gold embellishment, in excellent condition. A stunning map of Normandy by Alexis Jaillot, an exceptional example with gilt embellishments. One of the most important figures in French cartography, Nicolas Sanson initiated the great school of French geographers. Born in Abbeville in 1600, Sanson established his first printing house in Paris in 1638. He soon became geographer to the king, establishing himself as one of the most influential cartographers on the Continent. He was succeeded by his sons, Adrien and Guillaume, and by his son-in-law Pierre Duval, who continued to publish a wealth of maps using Sanson's name. At the close of the seventeenth century, Sanson's plates were purchased by the influential cartographer Alexis Hubert Jaillot, who continued to publish his maps and atlases under Sanson's title. This stunning map of Normandy is based on Sanson's map published in 1650, but was redrawn and enlarged by Jaillot. It shows the provinces of Normandy as well as the northern tip of Brittany and part of the English Channel. Both Jersey and Guernsey are included as is Mont St. Michel off the coast of St. Malo. In keeping with all of Sanson's and Jaillot's superb maps, forests, rivers, and towns are meticulously identified and named. The map includes an ornate cartouche in the upper section as well as a scale and key. Tooley, Maps & Map-Makers, pp. 40-41.…

Plate nr. 10 from the serie SYLVAE SACRAE MONUMENTA . ANACHORETAUM published by Johannes I and Raphael I Sadeler in 1594. This plate is in reverse and slighly wider than the original. Possibly by Charles van Boeckel (fl. 1597-1617) [Hollstein de Vos, 1004a], or by Marcus Christoph Sadeler (1614-1650), Giacomo Piccini (ca. 1617- ca.1669) and Giovanni Merlo (17th cent.) from the first half of the seventeenth century [Hollstein de Vos, 1004f]. Besides the latin verses beneath the picture no other signatures are to be found on the plate. Lettered under the picture: '[M]ARTIVS Aruvernae pater & contemptor honoris / Permutat sacram sponte ligone pedum. / Atass sibi caueam fodit in qua Vivere possit / Immo mori cui mors nil nisi vita fuit'; plate is numbered '10'. l Engraving on paper; platemark: 170 x 202 mm, total: 213 x 265. Broad margins, close to the top margin two holes, probably for it was bound with oher plates. PB01SS(Martius-Martinus).…

Original Kupferstich von ca. 1600. -- Platten-Maße: ca. 19,5 x 22 cm; mit schmalen Rändchen. -- gut erhalten. || Original copper engraving from c. 1600. --- With narrow margins. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. la Gewicht in Gramm: 15. …

copper engraving. 343 x 254 (image) (sheet: 350 x 261 mm.). signed & dated in the plate. A good dark impression on slightly thick laid paper (mounting tape on verso). Provenance: rubberstamp in lower right corner of Friedrich August II [1797-1854]. Fourth State (of 5). The Dutch engraver and mezzotinter Blooteling was a pupil of Cornelis van Dalen and probably worked with Cornelis Visscher. He is credited with the invention of the rocker as a tool in the preparation of mezzotint plates and with the introduction of the technique into England. Hollstein 3.…

Copper engraving, on two joined sheets, after Van der Meulen. Titled in French and Latin. In excellent condition. Some infill work along the bottom margin. Image size: 18 1/2 x 38 5/8 inches. A striking contemporary view of Gray in Franche-Comte, by the celebrated court painter Van der Meulen. This fine view shows the town of Gray in Franche-Comte, built on the banks of the Saône River. One of the most important trading towns in Franche-Comte, the region became a possession of the Spanish Hapsburgs in 1556. Although some of the region's fortified towns were occupied by France during the Wars of Religion, peace and prosperity continued until the advent of the Thirty Years War, when the region was ravaged by both Catholics and Protestants. Louis XIV conquered Franche-Comté in 1668 and again in 1674 and finally obtained its cession from Spain. Van der Meulen's striking image depicts the king and his armies entering the town after they successfully re-conquered the region. Adam Frans Van der Meulen was a landscape and genre painter, who specialized in battle scenes, and his early works, i.e. those from the years before he left for Paris (the earliest dated work is from 1653) are mainly cavalry skirmishes in the manner of his teacher Pieter Snayer. After he moved to Paris, the character of his work changed and became more ceremonial. He now specialized in large topographical views and military scenes and in royal journeys, processions and receptions. His most important task was to accompany the king on his many campaigns during the wars of conquest waged in the 1660s and 1670s against, inter alia the Spanish Netherlands, and as Peintre de conquêtes du roi officially to portray the memorable sieges, battles and conquests of le Roi Soleil in large-scale canvases or cartoons which were later transformed into tapestries. Van der Meulen was born in Brussels, where he was baptized in 1632. In 1646 he was apprenticed to the battle painter Pieter Snayers. In 1651 he became a master in the Guild of St. Luke in Brussels but by 1663 he had moved to Paris where he joined a group of Netherlandish artists associated with the French painter Charles Le Brun (1619-90), who not only was Premier peintre du roi, but also (from 1663) director of the Parisian tapestry manufactory Manufacture royale des Gobelins. Van der Meulen quickly became a protégé of Le Brun, and on his recommendation Van der Meulen was appointed court painter to Louis XIV on 1 April 1664 and at the same time became Le Brun's collaborator in the tapestry manufactory. In 1673 he was accepted as a member of the Académie royale de Peinture et de Sculpture without any obligation to submit a morceau de réception; in 1681 he became conseiller and in 1686 premier conseiller. He died as a highly esteemed artist in the Hôtel des Gobelins 15 October 1690.…

Copper engraving, on two joined sheets, by A.F. Baudouin with the figures by R. Bonnart, after Van der Meulen. Titled in French and Latin. A fine view of the fortified town of Calais and its environs, recalling king Louis XIV's gradual acquisition of territory on the Channel coast from 1667 onwards. This excellent panorama shows Calais as seen from the landward side looking across to the ramparts of the fortifications surrounding the town, to the roofs of the town itself and then beyond to the sea. In the fore and mid-ground the French army of King Louis XIV moves forward towards the town, this scene enlivened by Van der Meulen's portrayal of the stormy conditions: hats blow off, cloaks are wrapped around peoples' heads, foot soldiers lean into the wind. This sort of detail supports the statement in the imprint that the present scene was painted from life by Van der Meulen. Adam Frans Van der Meulen was a landscape and genre painter, who specialized in battle scenes, and his early works, i.e. those from the years before he left for Paris (the earliest dated work is from 1653) are mainly cavalry skirmishes in the manner of his teacher Pieter Snayer. After he moved to Paris, the character of his work changed and became more ceremonial. He now specialized in large topographical views and military scenes and in royal journeys, processions and receptions. His most important task was to accompany the king on his many campaigns during the wars of conquest waged in the 1660s and 1670s against, inter alia the Spanish Netherlands, and as Peintre de conquêtes du roi officially to portray the memorable sieges, battles and conquests of le Roi Soleil in large-scale canvases or cartoons which were later transformed into tapestries. Van der Meulen was born in Brussels, where he was baptised in 1632. In 1646 he was apprenticed to the battle painter Pieter Snayers. In 1651 he became a master in the Guild of St Luke in Brussels but by 1663 he had moved to Paris, where he joined a group of Netherlandish artists associated with the French painter Charles Le Brun (1619-90), who not only was Premier peintre du roi, but also (from 1663) director of the Parisian tapestry manufactory Manufacture royale des Gobelins. Van der Meulen quickly became a protégé of Le Brun, and on his recommendation Van der Meulen was appointed court painter to Louis XIV on 1 April 1664 and at the same time became Le Brun's collaborator in the tapestry manufactory. In 1673 he was accepted as a member of the Académie royale de Peinture et de Sculpture without any obligation to submit a morceau de réception; in 1681 he became conseiller and in 1686 premier conseiller. He died as a highly esteemed artist in the Hôtel des Gobelins 15 October 1690. …

Copper engraving, on two joined sheets, by Van Huctenburg and A.F. Baudouinst, after Van der Meulen. Titled in French and Latin. Painted from life by the artist who accompanied Louis XIV on his campaigns, Adam Frans Van der Meulen depicted in this wonderful panorama a post-battle view of Dôle, the capital of Franche-Comté, and the handsome surrounding region. In it, Louis XIV and his brother survey the city they've won from a hilltop. There is actually no unpleasant evidence of military activity except for some smoke billowing from the far side of Dôle. Adam Frans Van der Meulen was a landscape and genre painter, who specialized in battle scenes, and his early works, i.e. those from the years before he left for Paris (the earliest dated work is from 1653) are mainly cavalry skirmishes in the manner of his teacher Pieter Snayer. After he moved to Paris, the character of his work changed and became more ceremonial. He now specialized in large topographical views and military scenes and in royal journeys, processions and receptions. His most important task was to accompany the king on his many campaigns during the wars of conquest waged in the 1660s and 1670s against, inter alia the Spanish Netherlands, and as Peintre de conquêtes du roi officially to portray the memorable sieges, battles and conquests of le Roi Soleil in large-scale canvases or cartoons which were later transformed into tapestries. Van der Meulen was born in Brussels in 1632. In 1646 he was apprenticed to the battle painter Pieter Snayers. In 1651 he became a master in the Guild of St Luke in Brussels but by 1663 he had moved to Paris, where he joined a group of Netherlandish artists associated with the French painter Charles Le Brun (1619-90), who not only was Premier peintre du roi, but also (from 1663) director of the Parisian tapestry manufactory Manufacture royale des Gobelins. Van der Meulen quickly became a protégé of Le Brun, and on his recommendation Van der Meulen was appointed court painter to Louis XIV on 1 April 1664 and at the same time became Le Brun's collaborator in the tapestry manufactory. In 1673 he was accepted as a member of the Académie royale de Peinture et de Sculpture without any obligation to submit a morceau de réception; in 1681 he became conseiller and in 1686 premier conseiller. He died as a highly esteemed artist in the Hôtel des Gobelins 15 October 1690.…

Bust profile, looking to right shoulder; within an oval frame and an elaborate outer border of arms and instruments of war; the portrait is on a separate plate from the outer border on a tablet below it 'JOANNES AUSTRIACUS GAROLI V. F. / BELGII GUBERNATOR', numbered on the top right: 'fol. 402'. The outer plate is slightly bigger than that of book nr. 59978. Some details have been reworked. On the bottom some texts was added but in this case it was cut out. The remaining text reads: ''T ANTWERPEN, [.]'. Engraving on paper, two plates, with margins except the bottom; interior plate: 130 x 91 mm; total: 285 x 185 mm. Not in Hollstein.PP01JI (Juan I of Austria).…

Bust profile, looking to right shoulder; within an oval frame and an elaborate outer border of arms and instruments of war; the portrait is on a separate plate from the outer border on a tablet below it 'JOANNES AUSTRIACUS GAROLI V. F. / [BELGII GUBERNATOR]', numbered on the top right: 'fol. 402'. The inner plate has been misplaced therefore the bottom line is not visible. The outer plate is slightly bigger than that of book nr. 59978. Some details have been reworked. On the bottom some texts was added and then removed. The outer plate was evidently broken on the left. l Engraving on paper, two plates, with margins; interior plate: 130 x 91 mm; outer plate: 272 x 186mm, total: 298 x 192 mm. Trace of a water stain on the top half. Not in Hollstein.PP01JI (Juan I of Austria). …

View on a harbour with rough sea, harbour on the right. Lettered below eight lines of Latin text:'Fluctiuago. aquas' Signed on the bottom right:'P. Stephan. in / . Raph. Sadeler ex' l Engraving on paper, trimmed to platemark; total: 209 x 277 mm; damages along the margins, spots, mold on the right margin; only state; Hollstein 55, W 127 (as R. Sadeler I).…

St Theobaldus in the wilderness, kneeling with opened arms. Signed with privilege on the bottom: 'Vos figur. / Cu privil. Sumi Potif. et Ce.M. / Ioan Sadeler scalp et excud.', lettered further: 'Venit in Italiam , Senonum THEOBALDVS ab oris; / Et Vicentinis incola mansit agris / Mente super stellas atrijs habitabat in amplis; / Sic docuit multos; silvaque ludus erat'. Engraving on paper with margins; plate mark: 167 x 207 mm, total: 216 x 271 mm; Hollstein 1074 (Maarten de Vos).…

Ephestius running after a couple who left him a small bag with coins. Late impression. Inscribed on the bottom left on a rock 'Vos fig.'; on the bottom right: 'cu privil Sum. Pontifici / Joa Sadeler fecit et excu.'; lettered on the bottom: 'Melana in tecto, quod EPHAESTIO pauper habebat,/ Fraude pia loculos condidit; is repeit. / Currit, et exclamat: cape numos; illa recusat. Tum senior. non vis ego. dentur aquis' Hollstein de Vos, 1053 Engraving on paper; broad margins; platemark: 167 x 208 mm; total: 218 x 272 mm. The outline of the heremit, of the small bag and of the couple on the right have been marked with an ink-free needle or pen. PB01SS(Ephestius).…

No Binding. Condition: Fair. Portrait of Jean Chapeaville. Born 5 January 1551 in Liege, Belgium . Died 11 May 1617 in Liege, Belgium . Etching and Engraving by Jean Valdor the Elder (c. 1580 - after 1632), c. 1610. Reasonable condition. Lacking the margins. Paper slightly browned and a bit soilied. Mounted onto later paper. Note: dimensions reflect the entire leaf, excluding the mount. Dimensions: 153 x 102 mm. Jean Chapeaville was Historian, Theologian, Author, Roman Catholic priest, and Vicar general. c. 1610. Print. …

Leonardus on the right under a tree reading from the Bible. Towards the left a chapel with Mary and Child. A friar digging a whole in the ground and further a landscape. Late impression. Inscribed on the bottom left: 'cu privilegio / Su Ponti. et Cae'; 'Joa. Sadeler /sculpsit et exc.'; towards the right: 'Martin de Vos figur.'; lettered on the bottom: 'Nobilio hic ille est LEONARDUS; sustulit olim / De sacris puerum Rex Clodoueus aquis. / Discipulos, edemq[ue]' habuit; Pastorq[ue] virorum / Ne fieret, socius maluit esse feris.' Hollstein de Vos, 1061 l Engraving on paper; broad margins; platemark: 168 x 207 mm; total: 216 x 271 mm. In the sky towards the right a line in ink. PB01SS(Leonardus).…

Eulogius in the wildness, under a tree on the left, eading the Bible; on the right a landscape with houses and figures. Late impression. Nr. 16 from the series. Signed on the bottom left: 'Sadeler excudit' Lettered in latin below:'Malui EVLOGIVS desertas quaerere sedes, / Qua terere urbani splendida tecta soli. / Hinc fratres munire suos pietate laborat / Impiaq. plangere facta suae.' Hollstein, de Vos 980. l Engraving on paper; broad margins; platemark: 176 x 216 mm; total: 221 x 272 mm. Close to the top margin holes for previous binding PB01SS(Eulogius).…

Ammon reading on the left and on the right other friars in a landscape. Inscribed on the bottom left: 'Sadeler ex'; lettered on the bottom: 'AMMON in Nitra squallentis cultor eremi, / multiplicis fulget fons et origo boni. // sacraque sparsurus pietatis semina, fratrum / undique sollicito convocat ore gregem' numbered below:'26' l Engraving on paper; broad margins; platemark: 168 x 209 mm; total: 220 x 268 mm.…

Onofrius in the wlderness, kneeling on the rocks and praying after the Bible. Late impression. Signed on the bottom left, close to the center: 'Sadeler excudit' Lettered in latin below: 'Divinis oculis pergratus ONOFRIUS, aeuum / Traduxit rara sobrietate suum. / Inq[ue] cavo degens, palmaru ubi copia, monte, / Herbarum pastu depusit esuriem' Hollstein, de Vos 991. l Engraving on paper; broad margins; platemark: 178 x 215 mm; total: 226 x 276 mm. PB01SS(Onofrius).…

Nathaniel rejects an incursion of the Devil who took the shape of a kid in need of help o move his donkey. Late impression. Inscribed on the bottom center, towards the right: 'cum privil. Sum Pontif. et Caes. Ma.'; 'Raph. Sadeler sculp M. de Vos fig. '; lettered on the bottom: 'Mentitus puerum Daemon, mentitus Aselli / Casum, implorabat NATHANAELIS opem. / Ars erat hec, dulci qua clausum educeret antro. / Stulte puer speras huic dare verba seni?' Hollstein de Vos, 1054 l Engraving on paper; broad margins; platemark: 166 x 208 mm; total: 218 x 272 mm. PB01SS(Nathaniel).…

Late impression. Inscribed on the bottom right: 'cum privil Sum Ponti / M de Vos figu'; lettered on the bottom: 'Anglorum de gente, nepos Regis, contemtor honoris / Est VINVALOCIUS, quem dare vota vides. / Interea fures tectum expilare, sed ecce / Hic oculo, hic membris captus, et ille iacens' Hollstein de Vos, 1061 Engraving on paper; broad margins; platemark: 166 x 208 mm; total: 216 x 271 mm. In the sky towards the right a line in ink. PB01SS(Vinvalocius). …

Printdrawing after drawing by Jacob Isaacksz. van Ruisdael.Two farmers on the left are looking at the large destroyed farm at the center.From a set of nine, with eight landscapes and a seascape after Dutch masters from the 17th century (see Huffel 1921, p. 33-35). This series was included by Christiaan Josi in an edition with 100 works after Dutch and Flemish masters: "Collection d'imitations de dessins d'après les principaux maîtres hollandais et flamands", published in London in 1821.All prints in this edition bear on the verso the coat of arms of Cornelis Ploos van Amstel, the initiator of the publication. Printdrawing on paper; trimmed within plate; total: 193 x 272 mm; three weak corners, repaired, some creases and light foxing in the sky. Van Huffel, p. 62, cat.nr. 144.…

Bust portrait of Louis XIII, inspired to the portrait of the king by Rubens in Pasadena, at The Norton Simon Foundation (inv. F.1965.1.060.P), painted in ca. 1620-1622. Head slightly turned to the left, ruff collar and delicately engraved armor. In oval frame, inscribed at bottom: "LVDOVICVS XIII GALLIA ET NAVARRAE REX CHRISTIANISSIMVS". Not signed, but an inscription at verso in pencil provides the attribution: "Domenico del Falcino". There are very few works known by this skilled engraver from Siena, about eighty pieces. He worked at book illustrations, frontispieces and thesis prints not only as a designer but also as a publisher. Wide is the subject range, although religious scenes are the most common by his hand. He worked with Luca Ciamberlano and Cesare Bassano among others. Date of publishing ca 1630. Engraving on paper, trimmed to/within plate mark; total: 362 x 268 mm; some reparations, especially visible from the verso; on verso handwritten notes in pencil and one inscription in pen and brown ink. In some parts, the paper is thinner. Repaired tear at bottom right. Some dirt and bowning paper but extremely interesting plate.…

Portrait of Hieronymus van Beverninck (16414-1690) in an oval frame. Beverninck was mayor of Gouda and ambassador in England Inscribed on the oval frame:'NE TE QUAESI VERIS EXTRA'; on the pedestal on the plinth on bottom:'ILLUSTRIS ET GENEROSUS DOMINUS / D. HIERONYMUS VAN BEVERINGK / Teylingae Toparcha, Foederati Belgy Exthezaurarius, Lycaei Batavi Curator, in Consessu Celsorum et praepoten: / tium d:d: Ordinum Generalium Assessor, ad Tractatus pacis, [.] Neomagi instituti sunt, extra ordinem Legatus et Plenipotentiarius.'; signed on the bottom left:'B. Vaillant ad Vivum Pingebat et ex.' and right:'A. Blooteling sculp. 1679' l Engraving on paper with small margins; platemark: 350 x 265 mm; total: 358 x 273 mm; state IV/5, Hollstein 2, Wess 2, M 397. On the verso, bottom left in brown ink: 'N.:902' PP01B (Beverningk) / black folders A-D.…