Dirck Barendsz (5 results)

Amsterdam, Van Gendt, 1970. 290 pp. 167 b./w.ills. Orig. hardcover (moss green cloth, gilt lettered on spine), d./j.Dirck Barendsz or Theodor Barendszoon (1534-1592) was a Dutch Renaissance painter from Amsterdam who traveled to Italy in his youth to learn from the Italian masters, most notably Titian. - The author of this study evaluates the artist's development and judges his influence on his contemporaries. - - With a catalogue raisonné.

Amsterdam, Van Gendt & Co., 1940, in-4°, 290 pp with 167 ills. in black/white on 113 plates, publisher's cloth with dustwrapper in slipcase. Freitag 390. Contains the catalogue raisonné.

Bulino. L'incisione racconta la scena dal vangelo di Luca dell'incontro in casa del fariseo tra Gesù e la peccatrice, che unge i piedi del Cristo con oli profumati. è una strana composizione che si discosta dal racconto evangelico e sfiora invece la farsa con la donna che versa sul Cristo una intera brocca. Buon esemplare con margini stretti. Formato: 265x205mm.

Dirck Barendsz, aka Theodor Barendszoon (illustrator). Engraving 14 x 17 1/2" with added 1/4" margins. Toning lower left, otherwise in very good condition. After a drawing by Dirck Barendsz, dated 1581, which is now in the Victoria and Albert Museum, London. This engraving captures a dramatic juxtaposition between refinement and chaos, emblematic of the late Renaissance period's moral and philosophical tensions. In the foreground, finely dressed nobility are absorbed in music, feasting with an air of calm and indulgence, oblivious to the horrors unfolding beyond their insulated space. Meanwhile, through windows or open doors in the background, scenes of upheaval are visible. These might include depictions of fire, storms, war, or other catastrophic events that suggest both moral decay and the broader instability of the world. Not recorded by Hollstein with a modified address "Theodor Bernard: Amsterod: pinx" instead of ". inuentor". Johannes I. Sadeler (1550-1600) The Sadeler family were the largest, of the dynasties of Flemish engravers that were dominant in Northern European printmaking in the later 16th and 17th centuries, as both artists and publishers. Dirck Barendsz aka Theodor Barendszoon (1534-1592) was a Dutch Renaissance painter from Amsterdam who traveled to Italy in his youth to learn from the Italian masters, most notably Titian. Hollstein 265.

Left plate of a two plates print representing a Venetian Wedding. For a view of the complete composition please refer to the Rijksmuseum inv. RP-P-OB-10.406. The left portion represents a side of the loggiato where the Doge and other dignitaries are engaging in a conversation in the foreground. Several richly dressed women are sitting in the loggia enjoying conversations and some fruit and sweets from the table. On the top left is a loggia where a group of musicians is making music with a trombone (slide trumpet) and two shawms. On the background is the lagoon with the islands of San Michele and Murano in the distance.The preparatory drawing is also at the Rijksmuseum, inv. RP-T-1937-14, formerly attributed to Dirck Barendsz. (Meijer 1988).Barendsz, whose work this composition is inspired to, had been working in Titian's workshop during his stay in Venice, between 1555 and 1562 (Karel van Mander).Inscription in Latin at bottom: Hic Antenorei Connubia Magna Senatus. Patriciosque vides coetus, Venetosque Hymeneos / Et celebres thalami ritus tedasque iugales Solennesque urbis pompas, clarosque triumphos. [.]Lettered in lower corner of impression: Theodorus Bernardus Amsterodamus. Inventor [.]On verso collector's mark of Constant Moyaux (1835-1911) [L. 1829a].[NL] Antieke prent, gravure, uit 1584 gemaakt door oude meesterHendrick Goltzius. Een groep fraai geklede mensen is pratend, etend en drinkend bijeen in een ruimte met uitzicht op een open water. Links in een raam enkele muzikanten. Onder de voorstelling twee maal twee regels Latijnse tekst. Diverse muziekinstrumenten zoals schuiftrompet, trombone. Engraving on paper, with small margins; total: 435 x 350; pasted down on another sheet of paper; some rubbing and discoloration, some dirt, repaired tears with the pasting down, some soiling and staining on the bottom left corner, few scratches, but overall in good condition. New Hollstein 311, Bartsch 247, (Meijer 1988). On Dirck Barendsz and Venice. Oud Holland, 102(2), 141154.