Baudous Robert De (10 results)

A selection of 41 portraits (plus the engraved allegorical title-page, and the two other prints) from the first edition of Hendrick Hondius's series of portraits of artists from the Low Countries. The complete set, which contained 70 portraits, appeared in or soon after 1610 (the portrait of Jacobus de Geyn is dated 1610). Johannes Janssonius in Amsterdam published a second edition in 1618 with the title Theatrum honoris in quo nostri apelles . imagines. The prints were also sold separately and have no fixed order, so the number of portraits and the additional prints included varies from copy to copy. Although there was no fixed order, the STCN calls for three parts.The portraits in the complete series fall into three categories: 22 copy Domenicus Lampsonius's series of portraits of artists working before ca. 1500; 26 portray artists active in the sixteenth century, and 20 portray contemporary artists.The present selection contains after (1) the engraved title-page (H 80), (2) the plate with the three putti with banderols (23 x 15 cm; H 81), (3) a leaf with the mounted extra added portrait of Hendrik Hondius by Fredericus Boultats after the drawing by Hondius himself with a biographical note in French below, (4) the leaf with the dedicatory poem by Hendrick Hondius, "Picturae amatoribus, admiratoribusque", 41 portraits, and the allegorical print (21.5 x 13.5 cm), with in the foot margin the motto "Post Funera, Vita" (Life after death), by Hondius (H 115), suggesting that the deceased subjects will live on.The present selection appears to deliberately cover artists after ca. 1500, including only one of the portraits after Lampsonius (Cornelis Engelbrechtsz by Hondius, a borderline case chronologically). It includes 23 of the 26 16th-century artists and 17 of the 20 contemporary artists. It therefore gives a good overview of artists in the Low Countries from ca. 1500 to ca. 1610.In total there are 10 portraits by the famous engraver, etcher and publisher Hendrick Hondius (1573-1650), 23 by Simon Wynouts Frisius (ca. 1580-1629), 5 by the pupil of Jacques de Geyn II, Andries Stock (ca. 1580-1648) and 4 by Robert de Baudous (ca. 1574-ca. 1660), although many of the portraits are however signed by Hondius.Some marginal stains the top corner of several leaves damaged and the spine and boards somewhat rubbed, but still in good condition.l New Hollstein, Hendrick Hondius, 80-115 (pp. 90-105); Hollstein VII, Frisius, p. 32; Von Szwykowski 1856, p. 1; Kramm III, p. 718; Van Someren 1, 211a; Burchard 15. Contemporary half calf, brown sprinkled paper sides. An engraved print series with an architectural title-page with allegorical figures (an elaborate architectural cartouche with 3 allegorical female figures, a terrestrial globe, 2 putti, a shield bearing only 3 smaller blank shields, a bull's head, a winged head and garlands of fruit); an engraved print with three putti tumbling through the air with 2 banderoles, each bearing a 4-line verse; a letterpress dedicatory verse with a band of arabesque typographic ornaments above and below; 41 engraved portraits (20 x 12 cm) by Hendrik Hondius (9), Robert de Baudous (4), Simon Frisius (23) and Andries Stock (5); and an allegorical closing print (a skeleton holding an hour glass and an arrow, not in the copy on Google Books). The three plates outside the portraits are all by Hendrick Hondius. With an extra added portrait of Hendrick Hondius, engraved by Fredericus Boultats after a drawing by Hondius himself (16.5 x 11 cm; mounted on a blank leaf). Pages: [44] engraved ll. plus [1] letterpress leaf.

Portrait of Cornelis Visscher in the act of drawing a self-portrait as calligrapher. 39th plate of the series. Signed on the top left: 'Hh form Cum privill.' Inscription on the bottom: 'CORNELIUS VISSHERUS, GOUDAN. / Postremos inter non est Vischerus habendus, / Austriaci, Auriaci clarus imaginibus. / Principis exemplar cum quaerant undique vestrum / Pictores : Magno magnus es Auriaco'. l Engraving trimmed to plate mark; total: 212 x 125 mm; pasted on 18th century print; Hollstein 161.

Portrait of artist Cornelis Cornelisz. van Haarlem with palette and brushes in front of a painting. 60th plate of the series. On the canvas to the right: 'Aetat 22 / 1584 / Hh ex.' Inscription on the bottom: 'CORNEL. CORNELII, HARLEMENSIS, PICTOR. / Peniculum studio teneris tractavit ab annis: / Qui docuit quantúm cura labórque valent. / Ante alios dictus fuit hic cognomine PICTOR / Quám bene cognomen congruit artifici'. Engraving trimmed to plate mark; total: 212 x 125 mm; pasted on 18th century print; Hollstein 182.

Pictorum aliquot celebrium praecipuae germaniae inferioris effigies. Toutes les planches de cette série porte l'excudit de Hondius, mais certaines ont été gravées par d'autres artistes. 21 x 12.

Pictorum aliquot celebrium praecipuae germaniae inferioris effigies. Toutes les planches de cette série porte l'excudit de Hondius, mais certaines ont été gravées par d'autres artistes. 21 x 12.

Pictorum aliquot celebrium praecipuae germaniae inferioris effigies. Toutes les planches de cette série porte l'excudit de Hondius, mais certaines ont été gravées par d'autres artistes. 21 x 12.

Leather Bound. Condition: New. Language: Latin. Language: Latin. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1618. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - Latin, Pages: : - 158, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 158 158.

Frontispiece to the set of fifteen plates with invented landscapes and ruins.The title of the series is on a curtain hanging on the wall in the background. Ten figures in the front with fruits and vegetables.On the left, is a rather licentious scene: the man standing and pointing at the title with a finger is having an erection that has attracted the attention of the young woman seated just beside him.The title reads: 'Vetustae Ruinae et Venustissimae aliquot Re:/ giones, ad oculorum oblectamentum, et Picturae adjumentum, á Ioanne Veldio de:/ lineatae, ác formis expressae et a Roberto / Baudous iam primum publicatae. / AMSTELODAMI / Anno MDCXVI.' and at the bottom: 'Joannes vanden Velde Fecit. Robb. de baudous excudit 1616'. Further numbered: '1'.[NL] Figuren bij manden met vruchten en groenten, onder een doek waarop de titel. Titelprent van een serie van zestien; Ruïnes in landschappen (series title). Etching on paper, trimmed close to plate; total: 138 x 210, state II/6; evenly yellowed paper, traces of previous mounting on the verso; beautiful etching; Hollstein 216, Fr. 255.

From a set of Mountainous Landscapes: Plate 2: coastal landscape with a dwelling in foreground, a fortification beyond.Second state with plate number above margin; after Hendrik Goltzius.Lettered on the top right corner: HG in. / Ao. 1608Signature and address in bottom margin: Sÿmon Frizius fecit / Robbertus de Baudous Excudebat.[NL] Berglandschap met een huis op de voorgrond. Antieke prent, ets, van Simon Wijnants Frisius naar Hendrick Goltzius. Etching on laid paper; cut within plate mark; total: 137 x 204 mm; state II/2; despite traces of handling and some dirt, in fair condition. New Hollstein 152.

The Last Supper; Christ, sits at a long table with his apostles; a series of steps lead up to the table and the room is flanked by columns; in the foreground are a number of servants, including one pouring wine into another container; one climbs the steps and another waits on the sidelines at right with a dish of food.According to the Hollstein: 'In reverse after the fresco with the Last Supper by Taddeo Zuccaro in the vault of the Cappella Mattei in S. Maria della Consolazione in Rome. As noticed by Gere, Matham erroneously identified the scene as the Wedding at Cana (Gere 1969, p. 60). Philippe Thomassin made an engraving in the same direction as the fresco by Zuccaro, published in Rome [.]'.Titled, signed and dated at bottom: Ieh.2. NUMPTIAE IN CANA GALILEAE / Taddeo Zucchero inv. I. Matham sculp. / Robb de Baudous excudit 1616[NL] Christus aan tafel met zijn leerlingen tijden het Laatste Avondmaal. Op de voorgrond worden spijzen en dranken door bediendes aangereikt. Gemaakt door Jacob Matham. Engraving on laid paper, trimmed within plate mark; total: 292 x 394 mm; state I/4; mounted in paper passepartout. Restorations and other repairing especially on the margins; on the recto visible wear due to handling, though in good condition. On verso are some figures of seventeenth century noblemen drafted in pen and ink, and in pencil. some annotations in ben and brown ink have almost completely disappeared. Hollstein 35 (Matham).