After 1671 (14 results)

Großformatiger Kupferstich aus dem 18. Jahrhundert. -- Bildmaße ca. 37 x 24 cm - Blattmasse ca. 49 x32 cm. -- etwas fleckig - sonst gut erhalten. // 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.

Schönes original Kupferstich-Portrait von ca. 1660. -- Maße: ca. 35 x 25 cm. -- leicht gebraucht, etwas knapprandig, sonst gut erhalten. || Original copper engraved portrait from c. 1660. -- slightly stained, with narrow margins, 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: Deutsch Gewicht in Gramm: 10.

Schöner, großformatiger Kupferstich. -- Blatt-Maße: ca. 54 x 40 cm. Plattenmaße: ca. 30 x 34 cm. -- im Außenrand leicht gebräunt, sonst gut erhalten. || Beautiful, large copper engraving -- slightly browned 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: Deutsch Gewicht in Gramm: 35.

No Binding. Condition: Good. Portrait of Johan van Mathenesse. Born c. 1595. Died 30 June 1653. Etching and Engraving by Francois Bignon (c. 1620 - after 1671), after Anselmus Van Hulle (1601-1665), c. 1650. Good condition. Short margins. Verso: blank. Mounted onto an 18th century album leaf. Dimensions: 197 x 158 mm. Johan van Mathenesse was Lord of Riviere, Representative of the Dutch Republic during the Peace of Westphalia Negotiations, Lord of Mathenesse, and Lord of Opmeer. c. 1650. Print.

No Binding. Condition: Good. Portrait of Godard van Reede van Nederhorst. Born 30 September 1588 in Utrecht, The Netherlands. Died 25 June 1648 in Utrecht, The Netherlands. Etching and Engraving by Francois Bignon (c. 1620 - after 1671), after Anselmus Van Hulle (1601-1665), c. 1650. Good condition. Short margins. Verso: blank. Mounted onto an 18th century album leaf. Dimensions: 199 x 160 mm. Godard van Reede van Nederhorst was Diplomat, and Plenipotentiary at the Peace of Westphalia. c. 1650. Print.

The so-called Belvedere Apollo, today still in Rome in the Belvedere garden at the Musei Vaticani (Vaticaanse Musea), seen from the front.Signed on the ground: "PP. Doncker del. / JB f.".From 'Signorum Veterum Icones', a series of etched plates representing statues from Rome, was intended as a learning tool for young artists to copy from. Numbered on the top right: '4'. Etching on laid paper; trimmed to plate mark and pasted down on another sheet of laid paper; tolal: 231 x 148 mm. Small rust stain on one of the legs. Otherwise in good condition.

Portrait of Jacobus Sigismundus Denijs (1681-1741) Surgeon in Leiden since 1717; in 1719 mentioned as 'stadsvroedmeester, leraar vroedvrouwen en examinator vroedmeesters'; after 1724 main surgeon in Leiden, Amsterdam and other cities. Signed on the bottom left: 'A: Toorenvliet delin.' on the bottom right: 'F: v: Bleyswyck, sculps.' On the bottom inscription: 'JACOBYS DENYS Ordinare Stads Chirurgyn, Operateur / vande steen, vroed-meester, en Voorleeser ter Onderwysing / vande Vroed-vrouwe, binnen de STAD LEYDEN.' In the top center on a ribbon: 'INDUSTRIA et DEXTERITATE. Possibly used in Denys, Jacobus:Verhandeling over het ampt der Vroed-Meesters, en Vroed-Vrouwen met aanmerkingen, derzelver raakende, Leiden, Juriaan Wishoff, 1733. l Etching on paper; trimmed to platemark; total: 222 x 170, very nice impression, some dirt on the bottom to the left PP01D (Denijs) / black folders A-D.

Plate from the Signorum Veterum Icones, a collection of plates etched by de Bisschop after drawing by different masters. De Bisschop's purpose with these books of etchings had been to provide examples by a variety of different masters, in order to help artists learn from models that possessed both artistry and beauty. In the present etching the group of the Laocoon. Signed on the bottom left: 'Don. d.'and on the right:'JB. f.' [JB monogrammed]. Plate numbered on the top right:'16' l Etching on paper trimmed on margins, pasted on thikker paper; plate: 230 x 170, total: 245 x 181 mm. PLIT012.

A crowned Bathseba/Batseba indicates her son Salamo a throne where a crown and scepter are. Behind them bystanders and angels in clouds are walking towards them. Above two putti holding up a bible open engraved with a title. In the bottom margin of the Latin text: 'Egredimini et videte filiae Sion regem Salomonem in diademate quo coronavit illum mater sua.' Title page for Guy Michel Le Jay's 'Biblia Hebraica, Samaritana, Chaldaica, Graeca, Syriaca, Latina, Arabica [.]. Signed on the floor on the bottom right: 'Seb. Bourdon Pinxit Aegid Rousselet Sculp.'. Engraving on paper with some margin; plate mark: 430 x 289 mm, total: 490 x 327 mm; some foldings and stains; some damages along the margins. Date of print: 1645, published in Paris.

Frontispiece to the Polyglot Bible with portrait of Guy Michel Le Jay in an oval held by a flying Fama. Three female figures are gathered around an opened book, the Polyglot Bible. Time is lying on the ground, under the Bible. Engraving on paper with some margin; plate mark: 430 x 289 mm, total: 490 x 327 mm; some traces of foldings; some damages along the margins.

Plate from the Signorum Veterum Icones, a collection of plates etched by de Bisschop after drawing by different masters. De Bisschop's purpose with these books of etchings had been to provide examples by a variety of different masters, in order to help artists learn from models that possessed both artistry and beauty. In the present etching is seen a standing Dyonisus. Signed on the bottom left: 'Poel. d.'and on the right:'JB. f.' [JB monogrammed]. Plate numbered on the top right:'60' Etching on paper with margins in passepartout; plate: 233 x 105 mm. Jellema/Plomp p. 47-48 PLIT012.

Portrait of David Vlugh (1611-1673), Admiral of Holland, three-quarter length to left but facing front, with long wavy hair and moustache, wearing a long coat and a sash with ruffled trim and a medaille around his neck, standing behind a pedestal in front of a map of the North Sea and part of the English coast suspended between two columns, before him a balustrade with part of a cannon, anchor and dolphins; fourth state with text in lower plate-mark.Lettered on the map in the background: "Englandt / Ocea . ". Lettered on the medaille Vlugh is wearing: "Concordia Res Parvĉ Crescunt". Lettered on the canon: "Concordiar". Lettered on the balustrade with three lines of Dutch description, "David Vlugh, Schout . / . / . en 't Noorderqvartier"; followed by eight lines of Dutch verse: "Dit's Vlugh, . / . / . het tweede Damiaet. / G. Brandt.". Lettered with production details below: "H. Bary Sculp." and "E. vanden Hoof Excudit.". Lettered in lower plate-mark: "Op- Schrift vande Medaille / De Staten Generael . / . voor de Prosteriteyt.".The preparatory is held at the British Museum [inv. 1895,0915.1121]. The 1996-7 Malcolm Exhibition label text: The sitter, David Vlugh (d. 1673), was a commander of the Dutch fleet in engagements of the English coast. Jan de Bisschop, by profession a lawyer, was a gifted amateur artist who may have received instruction in drawing from Bartholomeus Breenbergh. He became an advocate at the Court of Holland in The Hague, where he spent most of his life, although he was born in Amsterdam. He published two series of prints after Italian art and the Antique.[NL] Antieke prent, portret van schout-bij-nacht David Vlugh door Hendrik Bary. Op de achtergrond een wandtaptijt met een zeekaart. Met een vers van acht regels in het Nederlands door G. Brandt. Engraving on paper with some margins; total: 461 x 341 mm; state IV/4; some foxing and rubbing, overall in very good condition. Hollstein 77, Wurzbach 63, Muller 5731.

Map of Italy, lightly colored. Titled on the top right: "L'Italie. / Dressée sur les Observations / de Mrs de l'Academie Royale des Sciences, / sur celles du R. P. Riccioli de / la Compagnie de Jesus, et autres Astronomes du pays / et sur plusieurs autres memoires. Par G. DE L'ISLE Geographe. / A AMSTERDAM / Chez ELWE & LANGEVELD / 1788". On the top it is visible crack on the plate, reflecting on the sheet. Etching and engraving on laid paper, hand colored; plate mark: 467 x 562 mm, total: 547 x 644 mm; some light smudges, otherwise in great condition.

Image size 30 x 25.5 inches (76.8 x 64.8 cm). In an ornate painted wooden frame, 37.25 x 32.25 inches. (94.8 x 81.8 cm). The subject is depicted turned quarter-left, with long hair (possibly a wig), wearing a rich dark brown jacket pinned at the right shoulder and a green and white cravat. With "Nicola Matteis / G. Kneller Fecit / 1682" in manuscript to verso. Provenance Old label to verso indicating that the painting once belonged to Lord Anglesey. It is later recorded as belonging to William Barrow of Llandudno in the 1960s and by descent to his heir, Miss D. Weir. Last sold at Sotheby's sale of Old Master & British Paintings in London on 10 April 2013 (lot 35): "This signed and dated work is the only known portrait of the first notable Italian Baroque violinist to have settled in London. A composer of significant popularity in his time and a virtuoso performer he revolutionised the use of the violin in London and introduced the Italian style of playing the instrument into English taste." Sotheby's catalogue entry Minor surface wear. Frame slightly worn, with small 1/2" area of upper edge of lacking. Reproduced in Michael Tilmouth's important article on Matteis in The Musical Quarterly, Vol. XLVI, No 1, between pp. 28 and 29. Although Matteis referred to himself as a "Napolitano" in several of his musical publications, he seems to have taken up residence in England in ca. 1670. "[He] was clearly an extraordinary violinist and a key figure in the development of violin playing in England. . Matteis was active as a teacher and, according to North, had 'many scollars'. He was to have joined Purcell, Draghi, Keller and Finger on the staff of the proposed Royal Academy (1695). In 1696 John Walsh (i) advertised 'A Collection of new Songs set by Mr Nicola Matteis made purposely for the use of his Scholars.' " Peter Walls in Grove Music Online In addition to various collections of instrumental and vocal works, Matteis published the important treatise "Le false consonanse della musica" in London, ca. 1680, issued in an English translation as "The False Consonances of Music." It is considered ". an important ground-breaking treatise on thorough-bass realization for the guitar (though Matteis several times stressed the applicability of his instructions to other continuo instruments and included some general advice on performance and composition)." ibid The German-born artist Sir Godfrey Kneller (1646-1723) was a leading portrait painter in England. His works are held in many prominent museum collections including the National Portrait Gallery, The Victoria and Albert Museum, The Royal Society, Kensington Palace, and Buckingham Palace in London; at Hampton Court; Oxford University; and the National Portrait Gallery in Dublin. Signed.