After 1849 (27 results)

Original Radierung aus dem 19. Jh. -- Blatt-Maße: ca. 35 x 26 cm. Platte: ca. 17 x 15 cm. -- im Außenrand etwas fleckig, sonst gut erhalten. || Original etched portrait from the 19th century. -- with some staining on the outer margin, otherwise in 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: Französisch Gewicht in Gramm: 1550.

Original Lithographie aus dem 19. Jh. Sehr seltenes Portrait! -- Blatt-Maße: ca. 42 x 29 cm. -- nur leicht fleckig, sonst gut erhalten. || Original lithograph from the 19th century. Very rare! -- only slightly stained, otherwise in 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: Französisch Gewicht in Gramm: 20.

Radierung. -- Bild-Maße: ca. 27 x 10,5 cm. -- gut erhalten. || Etching. -- 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: 1550.

Blatt-Maße: ca. 36 x 30 cm. -- Original Lithographie von 1828. -- gut erhalten. || Original lithographic portrait from 1828. -- in 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: 20.

Condition: Good. Engraving Arches laid paper. 19.5 x 13.5 cm (sheet). Very Good, sheet aged, light specks of foxing.

Condition: Good. Engraving laid paper. 19.5 x 13.5 cm (sheet). Very Good, sheet aged, light specks of foxing.

Condition: Good. Etching and engraving. 42.5 x 32.5 cm (sheet). Good, light foxing throughout, tears along sheet edges.

Condition: Good. Hand-colored lithograph. 36.5 x 29 cm (sheet). Very Good, some foxing mostly in the margins.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condition: Good. Etching and engraving. 16.8 x 21.5 cm. (sheet). Very Good, margins trimmed, sheet mounted on paper support.

Condition: Good. Etching and engraving. 16.3 x 11 cm. (sheet). Very Good, margins trimmed, soiling in center of image, sheet mounted on paper support.

Condition: Good. Etching and engraving. 11.2 x 13.6 cm. (sheet). Very Good, margins trimmed, sheet mounted on paper support.

No Binding. Condition: Very Good. 12 ĵ x 18 3/8 inches (31.1 x 46.7 cm., entire sheet). etching & engraving (6 small holes in upper blank margin)."The Battle of Borodino took place near the village of Borodino on 7 September 1812 during Napoleon's French invasion of Russia. The Grande Armée won the battle against the Imperial Russian Army with casualties in a ratio 2:3, but failed to gain a decisive victory. Napoleon fought against General Mikhail Kutuzov, whom the Emperor Alexander I of Russia had appointed to replace Barclay de Tolly on 29 August 1812 after the Battle of Smolensk." (Wikipedia) Napoleon went on to occupy Moscow where he remained for five weeks awaiting a surrender that would never come before deciding to retreat. Napoleon had begun his disastrous campaign with almost half a million men, but only about 10,000 soldiers made it out of Russia alive, the others lost to casualties, disease, starvation and severe weather conditions. The invasion is "one of the best studied military campaigns in history and is listed among the most lethal military operations in world history. It is characterized by the massive toll on human life.".

No Binding. Condition: Very Good. 12 ĵ x 18 3/8 inches (31.1 x 46.7 cm., entire sheet). etching & engraving (6 small holes in upper blank margin). "The Battle of Friedland (14 June 1807) was a major engagement of the Napoleonic Wars between the armies of the French Empire commanded by Napoleon I and the armies of the Russian Empire led by Count von Bennigsen. Napoleon and the French obtained a decisive victory that routed much of the Russian army, which retreated chaotically over the Alle River by the end of the fighting. The battlefield is located in modern-day Kaliningrad Oblast, near the town of Pravdinsk, RussiaNapoleon's overwhelming victoryeffectively ended the War of the Fourth Coalition, as Emperor Alexander I reluctantly entered peace negotiations with Napoleon. These discussions eventually culminated in the Treaties of Tilsit, by which Russia agreed to join the Continental System against Great Britain and by which Prussia lost almost half of its territories." (Wikipedia).

No Binding. Condition: Very Good. 12 ĵ x 18 3/8 inches (31.1 x 46.7 cm., entire sheet). etching & engraving (6 small holes in upper blank margin). "The Battle of the Pyramids, also known as the Battle of Embabeh, was a major engagement fought on 21 July 1798, during the French Invasion of EgyptAfter capturing Alexandria and crossing the desert, the French army led by General Napoleon Bonaparte, scored a decisive victory against the main army of the local Mamluk rulers, wiping out almost the entire Ottoman army located in Egypt. It was the first battle where Napoleon personally devised and employed the divisional square tactic to great effect. The deployment of the French brigades into these massive rectangular formations repeatedly threw back multiple cavalry charges of the Mamluks." (Wikipedia).

original Eching, Radierung 17,5 x 21,5 cm, aufgewalztes Chinapapier, Trägerpapier stockfleckig de 500 Grafik.

2 original Radierungen/ etchings, Blatt je / sheet each 38,5 x 28 cm de 500 Grafik.

Condition: Good. Color aquatint. 26 x 33.5cm. As published in "Italian Scenery, Manners and Customs."Abbey Travel, no. 164:28.Also included is the letterpress descriptive sheet.

Colour-printed lithograph. Very good condition apart from a few mild surface abrasions, a small loss and mild crease at the top of the image. A pupil of Harrison Bird Brown, the American artist Nicholas Winfield Scott Leighton was initially trained as a landscape painter but is primarily known for his images of animals, particularly thoroughbred racing horses. He funded his artistic education in Portland, Maine by rearing and trading horses, a job which gave him an intimate knowledge of equine anatomy that later manifested itself in his paintings. Leighton eventually settled in Boston, where he established a studio and continued to execute equestrian paintings, many of which were published as prints by Currier & Ives. During the 1880s, he exhibited his work at the prestigious National Academy of Design.

Aquatint, printed in colours and finished by hand, by James Baily (expert repair to lower margin affecting publication line). A fine view of a wicker-work stage wagon on an English side road. The stage wagon, a much slower pre-cursor of the stage coach, made only from ten to fifteen miles in a long summer's day; that is, supposing them not to have broken down by pitching over the boulders laid along the road, or stuck fast in a quagmire, when they had to wait for the arrival of the next team of horses to help to drag them out. The wagon, however, continued to be adopted as a popular mode of travelling until late in the eighteenth century, and lingered on into the nineteenth century on the less frequented routes. Agasse "studied as a boy in his native Geneva and later under David and Vernet in Paris. In 1800 he settled in England. He painted a number of very fine equestrian and greyhound portraits for Lord Rivers. He quickly found other patrons, many of them friends of Lord Rivers, and his ability to portray horses sympathetically and with anatomical accuracy was widely recognised." (Charles Lane British Racing Prints p.72). Lane Sporting Aquatints and their engravers I, p. 89; Siltzer p.41.

See Fauntleroy's entry in the Oxford DNB. Although accounts of his depravity are exaggerated, Fauntleroy led a dissolute life, and appropriated securities worth around £360,000. During his trial at the Old Bailey he called seventeen merchants and bankers to testify to his integrity, but his defence was unsuccessful, and he was hanged outside Newgate, before a crowd of 100,000. The present item is 1p, 4to. Bifolium, addressed on reverse of second leaf to 'Sir Cuthbert Sharp | &c &c', with endorsement. In fair condition, lightly aged and worn, with slight damage to inner edge of second leaf caused by removal from mount. With several folds. Written in a clear hand with a good bold signature. Reads: 'My Dear Sir Cuthbert | I have heard from you with every attention what you have proposed from the Assignees to me I will give it every consideration & shall hope in a few days to communicate with you upon the subject | I remain | Most faithfully Yrs | H Fauntleroy'. Sharp was presumably an assignee of an estate which had suffered as a result of Fauntleroy's forgeries.

Colour-printed aquatint. Printed on thick wove paper. In good condition with the exception of some matt staining along the edges of the sheet and some minor foxing in the margins. Image size: 20 7/8 x 16 15/16 inches. A dramatic print depicting smugglers being apprehended by the police, after a painting by the celebrated English sporting artist, S. J. E. Jones. This impressive aquatint by Charles Hunt is after a painting by the celebrated sporting artist Samuel John Egbert Jones. Jones was active in London at mid-century and made a name for himself as a painter of sporting subjects. He was a regular exhibitor at the Royal Academy and the British Institution, and many of his fine works were published and engraved for the London print shops. The painting takes as its subject a poem by the noted London playwright, William Thomas Moncrieff. As with many English genre paintings at this period, the work is moralistic in tone and content. Unlawful behavior receives its just recompense and wrong doings never go unnoticed. The scene explodes with drama as a group of policemen break in on a band of smugglers, who desperately attempt to escape. This is a wonderful example of Jones' superb work and a fascinating image which speaks to the taste and temperament of the age.

No Binding. Condition: Fair. Portrait of Sophie of Wurttemberg. Born 17 June 1818 in Stuttgart, Germany. Died 3 June 1877 in The Hague, Netherlands. Lithography by Hermanus Johannes van den Hout (1813 - after 1849), c. 1850. Reasonable condition. Paper with some faint creasing and some minor, faint spotting/small staining. Verso: blank. Dimensions: 211 x 171 mm. Sophie of Wurttemberg was Aristocrat, Queen, Duchess, Queen consort of the Netherlands, Queen of the Netherlands, First wife of King William III, Queen Consort, Grand Duchess of Luxembourg, and Grand Duchess of Limburg. c. 1850. Print.

No Binding. Condition: Fair. Portrait of Sophie of Wurttemberg. Born 17 June 1818 in Stuttgart, Germany. Died 3 June 1877 in The Hague, Netherlands. Lithography by Hermanus Johannes van den Hout (1813 - after 1849), c. 1850. Reasonable condition. Paper with some faint creasing and some minor, faint spotting. Verso: blank. Dimensions: 212 x 172 mm. Sophie of Wurttemberg was Aristocrat, Queen, Duchess, Queen consort of the Netherlands, Queen of the Netherlands, First wife of King William III, Queen Consort, Grand Duchess of Luxembourg, and Grand Duchess of Limburg. c. 1850. Print.

No Binding. Condition: Fair. Portrait of William III of the Netherlands. Born 19 February 1817 in Brussels, Belgium. Died 23 November 1890 in Apeldoorn, The Netherlands. Lithography by Hermanus Johannes van den Hout (1813 - after 1849), c. 1850. Reasonable condition. Paper with some minor creasing and some minor spotting. Verso: blank. Dimensions: 220 x 176 mm. William III of the Netherlands was King, Prince of Orange, Prince of Orange-Nassau, King of the Netherlands, Grand Duke of Luxembourg, Duke of Limburg, The son of King William II and Anna Pavlovna of Russia, Married his cousin Sophie of Wurttemberg, and Married Emma of Waldeck and Pyrmont. c. 1850. Print.

No Binding. Condition: Fair. Portrait of Sophie of Wurttemberg. Born 17 June 1818 in Stuttgart, Germany. Died 3 June 1877 in The Hague, Netherlands. Lithography by Hermanus Johannes van den Hout (1813 - after 1849), c. 1850. Reasonable condition. Paper with some minor creasing and some minor, faint spotting/small staining. Verso: blank. Dimensions: 212 x 172 mm. Sophie of Wurttemberg was Aristocrat, Queen, Duchess, Queen consort of the Netherlands, Queen of the Netherlands, First wife of King William III, Queen Consort, Grand Duchess of Luxembourg, and Grand Duchess of Limburg. c. 1850. Print.

Allegory of the Indivisibility, 1795. Freedom and Abundance standing next to an altar displayed at the center. Their unity is disturbed by Deception, Discord and Envy, but are protected by flying putti. In the middle of the sky the All Seeing Eye, in the foreground two river gods. The print was originally accompanied by an explanation sheet.Signed and titled at bottom: "A. C. Hauck inv. C Bakker Del. / uit gegeven by J. Groenewoud te Rotterdam. / Hend.k Roosing Sculp. // ONDEELBAARHEID." Marked as "Proefdruk."[NL] Boven een sokkel - met daarop een boek, een document met zegels en een zwaard - houden de personificatie van Vrijheid (met de vrijheidshoed en lans) en de personificatie van Voorspoed (met de hoorn des overvloeds) gezamenlijk een lauwerkrans, palmtak en olijftak vast. Boven de krans zweeft een hart. De personificaties van Vrijheid en Voorspoed worden geplaagd door Bedrog (links), Laster (in de lucht) en Nijd (rechts), die aangevallen worden door drie putti. Op de voorgrond de personificaties van de Amstel en het IJ, met in hun midden een hart. Links personificaties van Rechtvaardigheid en Standvastigheid en rechts op de achtergrond een groep patriotten. In de lucht de heilige drie-eenheid, weergegeven als een gelijkzijdige driehoek in een lichtkrans met in het midden Gods oog. De prent is het tweede deel uit een serie van vier prenten over de Bataafse Omwenteling. Etching and engraving on paper, trimmed to plate mark; total: 327 x 374 mm; some light foxing, traces of previous mounting on verso. Muller 5377a/2.

No Binding. Condition: Good. Portrait of Sophie of Wurttemberg. Born 17 June 1818 in Stuttgart, Germany. Died 3 June 1877 in The Hague, Netherlands. Lithography by Hermanus Johannes van den Hout (1813 - after 1849), c. 1850. Good condition. Paper with ample margins, but with some minor creasing and some minor spotting along edges. Verso: blank. Note: dimensions reflect the entire leaf. Dimensions: 367 x 275 mm. Sophie of Wurttemberg was Aristocrat, Queen, Duchess, Queen consort of the Netherlands, Queen of the Netherlands, First wife of King William III, Queen Consort, Grand Duchess of Luxembourg, and Grand Duchess of Limburg. c. 1850. Print.