After 1660 (54 results)

Size: 4to. 37, 23pp. Sewn as issued in publisher's printed loveral wrappers.

Bild-Maße: ca. 22 x 17 cm. Blatt-Maße: ca. 42 x 26 cm. -- Original Kupferstich. -- im Außenrand leicht fleckig, sonst gut erhalten. || Original copper engraving. -- slightly stained on the outer margin, 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.

Publisher's red cloth. Three Centuries of Music in Score: facsimiles of scores made under the works projects administration, vol.2. Size: Folio. xvii, 196, [ii] pp.

Original Kupferstich-Portrait aus dem 17. Jahrhundert. -- Blattmasse: ca. 31 x 24,5 cm. -- gut erhalten. || Original copper engraved portrait from the 17th 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: Niederländisch Gewicht in Gramm: 1550.

Original Kupferstich-Portrait aus dem 17. Jh. -- Blatt-Maße: ca. 41 x 26 cm. -- gut erhalten. || Original engraved portrait from the 17th 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: Niederländisch Gewicht in Gramm: 20.

Schönes Kupferstich-Portrait von ca. 1690. An den Ecken aufmontiert. - Blatt-Maße: ca. 32,5 x 20 cm - gut erhalten. -- original engraving from c.1690. Mounted on paper. - 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: Deutsch Gewicht in Gramm: 10.

Prächtiger Kupferstich von c. 1635 nach einer antiken Statue. -- Blatt-Maße: ca. 50 x 33,5 cm. -- gut erhalten. || Splendid engraving from c. 1635 after an antique Roman statue. -- in very good condition. || -- This is an original! - No copy! - No reprint! // 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: Italienisch Gewicht in Gramm: 25.

Prächtiger Kupferstich von c. 1635 nach einer antiken Statue. -- Blatt-Maße: ca. 50 x 33,5 cm. -- gut erhalten. || Splendid engraving from c. 1635 after an antique Roman statue. -- 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: Italienisch Gewicht in Gramm: 25.

Engraving and etching, state before publication details added, some fraying and creasing around edges, browned, vertical crease, strengthened on reverse, stain to top right,

original Kupferstich / engraving ca. 5 x 12 cm de 500 Grafik.

original Kupferstich / engraving ca. 5,5 x 12 cm de 500 Grafik.

original Kupferstich / engraving ca. 5,5 x 12 cm de 500 Grafik.

original Kupferstich / engraving ca. 5,5 x 12 cm de 500 Grafik.

original Kupferstich / engraving ca. 5,5 x 12 cm de 500 Grafik.

original Kupferstich / engraving ca. 5 x 12 cm de 500 Grafik.

Condition: Fine. Pieter de Bailliu (1613 - 1660) after design by Rembrandt (illustrator). This important etching was published as part of John McCreery's "A Collection of Original Etchings". It was published in London by McCreery in 1816. Each etching was pasted to backing paper. The original copper plates were believed to be destroyed after this publication. --- Most of the etchings are printed from the original plates of the artist. It features original plate etchings from the artists: Corenlius Bega (1654), Claude Lorraine (1660), Dominique Barriere (and Lorraine) (1651), Horizonti, Hollar (1641-1647), Theodore Van Kessel (1654), Peter de Laer (1636), Rembrandt, some after Rembrandt by Vivares, Van Vliet (1632), Thomas Wyck (1670), and Ruysdael (1668). The work also featured etchings after the artwork of Rembrant, Ruysdael, Du Jardin, Della Bella, and more. --- The work is in very good to excellent condition overall. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 9 3/4" by 12 1/4".

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

Gouache over graphite, on fine prepared vellum. Sheet size: 6 5/8 x 9 inches, each. Archivally mounted and framed. A lovely pair of vellum paintings. Cradock was born at Somerton, near Ilchester, in Somerset in about 1660. He was apprenticed to a house painter in London, but at the end of the apprenticeship turned to painting animals, birds and still life. He generally preferred working for a daily rate or for dealers, as opposed to wealthy patrons. His works are known to have been primarily used for interior decoration. Walpole praised some of his work, and examples are included in Lord Derby's famous collection at Knowsley and the Yale Centre for British Art. Christine Jackson notes that "He was regarded by his contemporaries as one of the best animal painters of his time." C. Jackson Dictionary of Bird Artists of the World, p.208; Vertue Notebooks I, Walpole Society, vol.18, 1930, p.80.

Condition: Good. Mezzotint. 23.1 x 17.1 cm. Lettered in black ink, lower left: R.B. p. J. Gole fec et exc. Amstelod"; lower right: "I. Gole fec. et Exc. cum Privil. Amstelodami."Hollstein 175; J.E. Wessely, Jacob Gole, Verzeichnis seiner Kupferstiche und Schabkunstblaetter Nr. 175.; Yale Center for British Art, Paul Mellon Fund Accession Number:B1970.3.920 (but clueless). Rare,

Condition: Good. Mezzotint on old laid paper. Signed in the plate. 15.5 x 10cm. Printed text in German beneath the image.Manuscript annotation on the print: H. Gascar: pinxit. Very rare.St Francis Xavier, one of the first companions of St Ignatius, Founder of the Society of Jesus ? the Jesuits ? who arrived a few decades later. He set sail for the East, his heart burning with the desire to share the Gospel of Jesus Christ with people of distant lands. He reached Goa on 6 May 1542 but soon headed further south, where he worked unceasingly to bring the Good News to the people, learning the local language, making endless journeys, and never caring for his own health or comfort. After journeys to Thiruvithamcore (Travancore) and other places along the West Coast, he moved east to Mylapore. There, at the grave of the Apostle Thomas, he spent several months in prayer. As a sign of his great devotion to the Apostle he had, already in 1542, introduced the saint's name in the confessional formula of the Mass. It was after the prayerful days spent at the tomb, enlightened and refreshed by that experience, that Francis set out for his mission in the Far East. Many letters he wrote at that time show his great interest in and concern for the St Thomas Christians and their bishop, Mar Jacob.Death of St Francis, 3 December 1552 at Sancian.

Condition: Good. Mezzotint.19.1 x 14.5 cm. Lettered in black ink, lower left: Herluyson; center.; lower right: J. Sarrabat fecit et excudit. Rare.

Condition: Good. Mezzotint. 29.2 x 20.1 cm. Lettered in black ink, lower left: A.V. Dye p./ J. Golde fec et exc. Title in lower center.; lower right: cum Privil. Amstelodami. J.E. Wessely, Jacob Gole, Verzeichnis seiner Kupferstiche und Schabkunstblaetter does not appear to have this print, but no. 154 is similar.

Condition: Good. Mezzotint. 24.6 x 17.8 cm. Lettered in black ink, lower left: "G. Schalcken Pinx."; lower center: "S. Maria Magdalene."; lower right: "I. Gole fec. et Exc. cum Privil. Amstelodami."J.E. Wessely, Jacob Gole, Verzeichnis seiner Kupferstiche und Schabkunstblaetter Nr. 155.; Yale Center for British Art, Paul Mellon Fund Accession Number:B1970.3.918. Rare.

Full-length portrait of Kenau Hasselaer, holding a spear in her right hand. Behind her, the besieged city of Haarlem. According to the legend, Hasselaer played a crucial role in the liberation of the city of Haarlem from the Spanish siege in 1573. One line of French text below: 'kennava femme d'un Courage male, defend la ville de Harlem.' Possibly copy after the same plate that appeared in the 1709 edition of Famiano Strada's: 'Histoire de la guerre de Flandre, de Famianus Strada, traduite par P. Du Ryer', or it served as reference to Strada's edition. From unknown publication. The bottom right corner is scratched, probably to remove some text or references. Engraving on paper, trimmed within plate mark; total: 130 x 165 mm; a tiny rust stain in the sky, thin paper otherwise in great condition. Traces of previous mounting on verso.

Full-length portrait of Kenau Hasselaer, holding a spear in her right hand. Behind her, the besieged city of Haarlem. According to the legend, Hasselaer played a crucial role in the liberation of the city of Haarlem from the Spanish siege in 1573. One line of French text below: 'kennava femme d'un Courage male, defend la ville de Harlem.' On the top right corner: 'Tom I. pag. 541'. Included as plate in the 1709 edition of Famiano Strada's: 'Histoire de la guerre de Flandre, de Famianus Strada, traduite par P. Du Ryer'. The attribution was made on the basis of the signature reported on the other plates of the publication. Engraving on paper, trimmed close to plate mark; total: 137 x 180 mm; some smudges on the front, and traces of previous mounting on verso.

30th plate of 100 portraying Rome's palaces and ruins and even reconstruction of ancient buildings in Rome. The second state of these etchings were collected in the publication by Peter Schenck:'Roma aeterna, sive ipsius aedificiorum Romanorum, integrorium collapsorumque, conspectus duplex. ' In the 'Aedificiorum Index':'30. Campus Vaccinus, & templorum / in eo ruinae': view on the so called 'Campo Vaccino', a portion of the Roman fora used as bovine market from the XVI until the XVIII century. In particular are mentioned the ruines of the temple of Jupiter Sartor from the 8th century BC. Inspired to Etienne Duperac's plate 7 of 'I Vestigi dell' antichità di Roma.' (1575). Inscribed on the bottom in Latin and Dutch:'TEMPLI IOVIS STATORIS. / Pet Schenck exc: Amsteloed: cum Privil:' l Etching on paper with margins; platemark: 168 x 195 mm; total: 191 x 255 mm; state I/2; some dirt along the external margins; Hollstein 1497-1596; Nagler 177; Le Blanc 19; Wurzbach 313.

58th plate of 100 portraying Rome's palaces and ruins and even reconstruction of ancient buildings in Rome. The second state of these etchings were collected in the publication by Peter Schenck:'Roma aeterna, sive ipsius aedificiorum Romanorum, integrorium collapsorumque, conspectus duplex. ' In the 'Aedificiorum Index':'58. Sepulcrum, Septizonium Severi', view on the ruins of the so called Septizonium, a building constructed by will of emperor Septimius Severus, completely dismanteled by 1600. For this representation the source might have been a plate from Lafreri's 'Speculum Romanae Magnificentiae' (1574). Inscribed on the bottom in Latin and Dutch:'SEPTIZONIUM SEVERI. / P. Schenck exc: Amstelod: cum Privil:' l Etching on paper with margins; platemark: 167 x 198 mm; total: 191 x 254 mm; state I/2; some dirt along the external margins; Hollstein 1497-1596; Nagler 177; Le Blanc 19; Wurzbach 313.

Second plate of 100 portraying Rome's palaces and ruins and even reconstruction of ancient buildings in Rome. The second state of these etchings were collected in the publication by Peter Schenck:'Roma aeterna, sive ipsius aedificiorum Romanorum, integrorium collapsorumque, conspectus duplex. ' In the 'Aedificiorum Index':'2. Amphitheatrum Vespasianorum': view on the Colosseum's ruins with some figures in the foreground. Ispired to are inspired to Etienne Duperac's plate 16 of 'I Vestigi dell' antichità di Roma.' (1575). Inscribed on the bottom in Latin and Dutch:'AMPHITHEATRI VESPASIANORUM. / Pet Schenck exc: Amsteloed: cum Privil:' l Etching on paper with margins; platemark: 167 x 197 mm; total: 190 x 240 mm; state I/2; some dirt along the external margins; Hollstein 1497-1596; Nagler 177; Le Blanc 19; Wurzbach 313.

Sixth plate of 100 portraying Rome's palaces and ruins and even reconstruction of ancient buildings in Rome. The second state of these etchings were collected in the publication by Peter Schenck:'Roma aeterna, sive ipsius aedificiorum Romanorum, integrorium collapsorumque, conspectus duplex. ' In the 'Aedificiorum Index':'6. Aqua Marcia': view on a portion of the so called Aqua Marcia, the longest of the 11 aqueducts that supplied the city of ancient Rome. Inspired to Etienne Duperac's plate 27 of 'I Vestigi dell' antichità di Roma.' (1575). Inscribed on the bottom in Latin and Dutch:'AQUAE MARCIAE CASTELLUM. / P.Schenck exc: Amsteloed: cum Privil:' l Etching on paper with margins; platemark: 167 x 200 mm; total: 191 x 255 mm; state I/2; some dirt and small tears along the external margins; Hollstein 1497-1596; Nagler 177; Le Blanc 19; Wurzbach 313.

Right side of the title of the map of the Overwaard. A theory of putti flying in front of a banderole with the title: 'OVER WAART'.Published before 1706. Etching on paper with some margins; total: 189 x 437 mm. Some rubbing and dirt, traces of previous mounting on verso, otherwise in very good condition. Hameleers, Bibliografie van Nederlandse gedrukte polderkaarten, p. 194-196, cat.nr. 63.