After 1845 (27 results)

Single sheet. Original antique hand coloured steel engraving. Engraved surface 150 x 110 mm, overall 220 x 185 mm 22 x 18.5 cm.

Single sheet. Antique hand coloured steel engraving. Engraved surface 110 x 160 mm, overall 160 x 220 mm 16 x 22 cm.

Bild-Maße: ca. 19,5 x 14 cm. -- Original Kupferstich. Mit Sammlerstempel auf der Rückseite. -- gut erhalten. || Original engraving. With collector's stamp on verso. -- 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.

Condition: Good. Lithograph on chine colle wove paper. 27 x 32 cm. (sheet). Very Good, a few specks on foxing in the margin areas.

Condition: Good. Hand-colored lithograph. 38.5 x 28 cm (sheet). Very Good, light foxing, some toning to sheet.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condition: Good. Hand-colored lithograph. 36 x 27.5 cm (sheet). Very Good, sheet toned, light specks of foxing.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condition: Good. Etching and aquatint. 270 x 185 mm. (sheet). Very Good.Provenance: From the collection of the Late Frederick G. Ruffner, Jr., founder of Gale Research, Detroit.

Condition: Good. Steel engraving on wove paper. 31 x 21 cm. (image); 37.3 x 25.3 cm. (sheet). Very Good. Light specks of foxing in the margins.

Condition: Very good. New York, August 31, 1901 and November 9, 1901., 1901. Very good. - Two letters addressed to the American lecture manager James B. Pond. The first, a 4 page autograph letter consisting of over 120 words penned on 4 sides of 6-7/8 inch high by 4-3/8 inch wide paper with the text framed by heavy black mourning rules. In his letter dated August 31,1901, the president of the Lotos Club Frank Richard Lawrence replies to a letter from the the American lecture manager James B. Pond informing him of his wife's death, "Our own troubles here culminated after eighteen months of the most terrible strain and anxiety in the death of my dear wife on the 11th instant, and I think we shall all go abroad next week for a few week's change of scene." He suggests that all matters pertaining to the Lotos Club should be handled by the Club's Vice President for a while. He'd like to call Pond the following week and invite Pond to dine with him before he leaves. He closes saying "We have had a crushing affliction as you will understand." Signed "Frank R. Lawrence". Folded for mailing with Pond's light red stamp indicating he's answered. Else, near fine. The second is a typed letter signed consisting of over 70 words typed on his 5-1/8 inch high by 8 inch wide personal stationery. Having returned from abroad, Frank R. Lawrence writes to Pond on November 9, 1901, that he is glad to have Pond's "kind note of welcome", he explains "I am glad to say that I am in tolerable health, have just returned as you know, and expect to take things a little gradually." Signed "Frank R. Lawrence". Folded for mailing with a tiny tear to the bottom edge. Both letters are in very good condition. The corporate lawyer and after-dinner speaker Frank Richard Lawrence (1845-1918) served as President of the Lotos Club for 29 terms and presided over nearly all of the noted dinners at the Club where national & international figures were honored. He was active in masonry and served as the Grand Master of the State of New York, during which time New York's Masonic Temple was erected. He married Eva Annette Reed in 1874. A member of the New York Yacht Club, Lawrence was a yachting enthusiast and owned several steam and sail yachts, and once served as Commodore of the American Yacht Club.

Condition: Good. Etching on wove paper. 21.5 x 14.5 cm (sheet). Very Good.

Condition: Good. Engraving. 27 x 18 cm (sheet). Very Good, a few, light specks of foxing in the margin areas.

Condition: Good. Etching on wove paper. 29.5 x 22 cm. (plate); 31.5 x 25 cm. (sheet). Very Good. Sheet lightly toned, some surface soiling.

No Binding. Condition: Fair. Portrait of Francois-Regis de La Bourdonnaye. Born 19 March 1767 in La Varenne, France. Died 28 July 1839 in Drain, France. Lithography by Joseph Anton Freymann (1810 - after 1845), c. 1830. Reasonable condition. Paper a bit browned and a bit soiled. With overall spotting. Verso: blank. Note: dimensions reflect the entire leaf. Dimensions: 140 x 103 mm. Francois-Regis de La Bourdonnaye was Aristocrat, Minister of the Interior, Comte de La Breteche, and French national deputy. c. 1830. Print.

Condition: Good. Mezzotint on wove paper. 21 x 31.5 cm (sheet). Very Good, sheet slightly toned in the margins.

Bild-Maße: ca. 41 x 33 cm. -- Kupferstich. -- mit kleinem hinterlegten Randeinriss außerhalb des Bildes, sonst gut erhalten. || Copper engraving. -- with a small backed marginal tear outside the image, 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. la Gewicht in Gramm: 1500.

Condition: Good. Etching on wove paper. 30.5 x 22 cm (sheet). Very Good, a few light specks of foxing, toning along sheet edges.

Condition: Good. Original lithograph on chine colle. 34 x 52.5 cm (sheet). Very Good, some foxing, mostly in the margins. As published in "Galerie de son Altesse Royale Madame la Duchesse de Berry. Ecole Francaise. Peintres Modernes. Ouvrage Dedie a son Altesse Royale et Lithographie par d'Habiles Artistes sous la Direction de M. Le Chevalier Bonnemaison, Membre de la Legion d'Honneur, Directeur de la Restauration des Tableaux du Musee Royal, et Conservateur de la Galerie de son Altesse Royale".Marie Caroline Ferdinande Louise de Bourbon-Sicile, Duchesse de Barry; Daughter of Francis, Duke of Calabria, later King of the two Sicilies; m. Charles Ferdinand Duc de Berry (son of Charles X) in 1816. Mother of Henri Duc de Bordeaux, exiled with the rest of the court in 1830, came back clandestinely in April 1832 in an attempt to place her son on the throne with her as a regent. Arrested and imprisoned in November 1832, freed in 1833 and sent to Palermo; she settled in Austria where she died.She commissioned a series of 250 lithographs reproducing paintings from the collection of the Duc de Berry. The plates were published from 1822, and two volumes binding the plates together were issued in 1824 and 1826.

Condition: Good. Original lithograph on chine colle. 34 x 52.5 cm (sheet). Very Good, some foxing, mostly in the margins, a short tear at lower right sheet corner. As published in "Galerie de son Altesse Royale Madame la Duchesse de Berry. Ecole Francaise. Peintres Modernes. Ouvrage Dedie a son Altesse Royale et Lithographie par d'Habiles Artistes sous la Direction de M. Le Chevalier Bonnemaison, Membre de la Legion d'Honneur, Directeur de la Restauration des Tableaux du Musee Royal, et Conservateur de la Galerie de son Altesse Royale".Marie Caroline Ferdinande Louise de Bourbon-Sicile, Duchesse de Barry; Daughter of Francis, Duke of Calabria, later King of the two Sicilies; m. Charles Ferdinand Duc de Berry (son of Charles X) in 1816. Mother of Henri Duc de Bordeaux, exiled with the rest of the court in 1830, came back clandestinely in April 1832 in an attempt to place her son on the throne with her as a regent. Arrested and imprisoned in November 1832, freed in 1833 and sent to Palermo; she settled in Austria where she died.She commissioned a series of 250 lithographs reproducing paintings from the collection of the Duc de Berry. The plates were published from 1822, and two volumes binding the plates together were issued in 1824 and 1826.

Condition: Good. Original lithograph on chine colle. 34 x 52.5 cm (sheet). Very Good, some foxing, mostly in the margins. As published in "Galerie de son Altesse Royale Madame la Duchesse de Berry. Ecole Francaise. Peintres Modernes. Ouvrage Dedie a son Altesse Royale et Lithographie par d'Habiles Artistes sous la Direction de M. Le Chevalier Bonnemaison, Membre de la Legion d'Honneur, Directeur de la Restauration des Tableaux du Musee Royal, et Conservateur de la Galerie de son Altesse Royale".Marie Caroline Ferdinande Louise de Bourbon-Sicile, Duchesse de Barry; Daughter of Francis, Duke of Calabria, later King of the two Sicilies; m. Charles Ferdinand Duc de Berry (son of Charles X) in 1816. Mother of Henri Duc de Bordeaux, exiled with the rest of the court in 1830, came back clandestinely in April 1832 in an attempt to place her son on the throne with her as a regent. Arrested and imprisoned in November 1832, freed in 1833 and sent to Palermo; she settled in Austria where she died.She commissioned a series of 250 lithographs reproducing paintings from the collection of the Duc de Berry. The plates were published from 1822, and two volumes binding the plates together were issued in 1824 and 1826.

8vo. 2 pp. on bifolium. To an unidentified musician, thanking her for a successful concert and affirming her wish to continue their collaboration: "Je m'empresse de vous exprimer mes plus vifs remerciements pour la lettre que vous avez eu la bonté de m'écrire dans laquelle vous me dites que l'on vous a dit beaucoup de bonnes choses sur mon compte depuis votre charmante soirée; j'en suis d'autant plus flattée, que c'est par vous, chère Madame, que je reçois les éloges. Avoir l'honneur de jouer avec vous c'est déjà du succès. C'est pourquoi je suis si heureux de pouvoir continuer nos séances musicales [.]". - This beautiful letter is highly informative of Thérèse Castellan's trajectory as a female musician in a male-dominated field. In 1861 she won first prize at the Paris Conservatory playing a concert by Rodolphe Kreutzer, which started off her career as a soloist. Throughout the following three decades, Castellan often played in private settings for the European high nobility and bourgeoisie. She lived mostly in London but also toured successfully in Europe and the U.S., playing with musicians such as Adelina Patti, Christine Nilsson, and Pablo de Sarasate. - Traces of former mounting and minor browning to the upper border.

Condition: Good. Engraving. Margins: 12" x 17", Image: 8" x 7". Very Good, mounted.

Condition: Good. Chiaroscuro woodcut from three blocks. 21 x 15.8cm.Catalogue raisonné :Hollstein, Stechow 11.Another copy: Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002.2329. Part of the series: Christ and the twelve apostles published by Melchior Tavernier, (1600 - 1669). .Provenance:George Usslaub commença sa collection en 1886. Elle comprend environ 10.000 planches de toutes les écoles des XVIe-XVIIIe siècles : portraits, scènes religieuses, mythologie, intérieurs, paysages, etc., en noir et en couleurs (e. a. l'?uvre de J. Morin en épreuves superbes). Sa collection de dessins anciens est également importante.m Lugt, 1221. . Né en 1906 à Lezay (Deux-Sèvres), Jacques Cathy a exercé d'abord la profession de caricaturiste à l'hebdomadaire Ğ Le Rire ğ. Il a rejoint vers 1927 l'équipe du Cabaret Ğ La Vache Enragée ğ conduite par Roger Toziny. Jacques Cathy poursuit sa carrière de chansonnier après le décès de Toziny en 1939 et après la guerre il conduit parallèlement une carrière d'acteur dans le cinéma. Jacques Cathy était le 3ème Maire de La Commune Libre de Montmartre à partir de l'élection en 1949.Final provenance: Les Collections Aristophil - 164 bis avenue Charles-de-Gaulle 92200 Neuilly-sur-Seine.

Colour-printed aquatint, finished by hand, by C. Rosenberg after Huggins. A fine image of an East-Indiaman making sail. William Huggins served for several years at sea in the service of the East India Compnay, and on his return to London was regularly employed to paint carefully detailed pictures of the company's ships. The present image is from this body of work and shows the Honourable Company Ship Macqueen making sail in crowded waters (12 other vessels are visible).

Colour-printed aquatint, finished by hand, by C. Rosenberg after Huggins. A fine image of Lord Yarborough's `new' yacht William Huggins, one of the best English marine artists of the 19th century, served for several years at sea in the service of the East India Company. On his return to London used his intimate knowledge of sailing vessels to gain regular employment painting carefully detailed ship portraits. The present image falls into this category and represents the yacht that Lord Yarborough (1781-1846) had built after he was elected the first commodore of the Royal Yacht Squadron in 1824. Huggins' painting was very ably aquatinted by Charles Rosenberg, who translated several Huggins ship paintings to print. This is a superb example of 19th century marine printmaking.

Sheet: 500 x 370 mm; Image: 450 x 320 mm; Pen, brown ink and grey wash on paper; signed and dated: Ant. Amorini dis. 1818 Antonio Amorini was a Bolognese historian, archeologist and art critic. He was a friend of Leopoldo Cicognara (1767-1534). The French invasion, with its different urban changes, destruction and desecration of churches and chapels, stimulated him to a systematic work of conservation, salvage or at least of description of the works destined to destruction. In this context, he possibly created the present sheet after a very rare engraving by Francesco Rainaldi (1770-1805) and Giuseppe Castagnoli (1754-1832) which we were able to locate in only one copy in the Museo Correr, Venice. The drawing depicts the funeral monument to Alessandro Pepoli (1757-1796), which was located in a side chapel of the Santa Trinita church in Florence. Pepoli was an Italian librettist and author of tragedies. In 1795 he published a summary translation of John Miltons poem Paradise Lost. Bibliography: A. Wandruszka Il Marchese Antonio Bolognini Amorini. (in: Roversi, 1994, pp.127-129); Dizionario Biografico degli Italiani. Vol. XI. Rome, 1969. (pp.355-356); V. Davia Amorini Bolognini (in: E.v.Tipaldo Biographie degli italiani illustri. Vol X. Venezia, 1845. pp.346-359) // 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: 550.

Portrait of Queen Anna Paulowna (1795-1865) as princess of Oranje. Bust portrait, face turned to the right.Titled below: ANNA-PAULOWNA, / Princess d'Orange, Grande Duchesse de Russie.Signed, dated and with the address of the publisher below: Gillio ft. 1826 / Lith. de Burggraaff, rue Royale, N° 68, à Bruxelles.On the top right margin is mounted another portrait of the sitter by Velijn (ca. 1830), possibly a first state as the lettering is missing and the signature is inscribed in a different fashion as in other impressions (see Rijksmuseum inv. RP-P-OB-66.435, RKD image nr. 176264). Bust portrait with head turned to the left.[NL] Portret van prinses Anna Paulowna. In de ondermarge haar naam en titels. Gemaakt door Gillo. Lithography on paper; total: 534 c 378 mm; mounted on a fine cardboard passepartout; despite some light foxing and rubbing, in great condition. The smaller portrait is a stipple engraving, total: 126 x 93 mm with an inscription in pencil at bottom, revealing the name of the sitter.

Double portrait of William II, King of the Netherlands and his wife Anna Pavlovna; knee-length directed to the viewer, Anna slightly turned to the right. William is looking at Anna and Anna looks at the viewer, William is wearing a uniform with a high collar, a sash, insignia, a cross-shaped medal and a collar of the Knights of the Golden Fleece, in his hands he holds his feathered hat, Anna is wearign a low-cutt dress and pearl jewellery, proof state with letters.Lettered with production details, in the lower margin: "Geschilderd door J. W. Pieneman, Ridder der Orde van den Nederlandschen Leeuw." and "Gegraveerd door P. Velijn."[NL] Portret van Willem II en Anna Paulowna. In de ondermarge hun namen en titels. Gemaakt door Gillo 1826. Etching and engraving on laid paper; total: 512 x 372 mm; mounted on a fine cardboard passepartout; some rubbing and minor tears on the margins, in good condition.