Prices are in Euros.

Apianus, P. Imagines syderum coelestium ut sunt à veteribus astronomis compositae, à recentibus in duplex hemisphaerium, hic autem ob meliorem illarum omnium inter se proportionem, in unicam figuram redactae.... Sternkarte. (Ingolstadt, Peter Apianus, after 5 August 1536). Facsimile Ludwig Rosenthal's Antiquariat, München, 1927). Woodcut circular star-map (probably drawn by Ostendorf) showing the symbols of the 48 constellations (diameter 29 cm). Large folio, 56,5 x 42 cm. (# 5768)

Schottenloher, Apianusdruckerei, No. 41. Unicum of great interest for the history of astronomical science. The same map appeared in Apian's "Astronomicum Caesareum" in 1540, part II (but there the names of the constellations have another sequence). Below the map is the dedication of two lines: "Stemmatum nobilitate, morumque et literarum profectu illustri claroque puero Osvaldo ab Eck ... Petrus Apianus". Then follow 16 lines of text in which Apianus summons to further study and diligent use of this map which he made for his pupils. Facsimile of one of the earliest separately printed star-maps.

Audran, Benoît and Jean Audran (publishers). La famille de Darius aux pieds d'Alexandre le Grand (Tent of Darius), after Charles le Brun. Paris, Benoît Audran I and Jean Audran, 1699-1708. Fine oblong etching and engraving showing Alexander the Great, accompanied by Hephaestion, meeting Stateira, Sisygambis and the rest of Darius's family, gathered under a tent, signed in the plate "Car. le Brun pinxit. Audran excudit". With 4 lines of engraved text in French and Latin in the plate's lower margin:"Il est d'un Roy de se vaincre soy mesme. Alexandre, ayant vaincu Darius pres la ville d'Isse entre dans une tente... Sui victoria indicat regem. Alexander, Dario ad Issum...". Two eagles flanking Mansart's arms in centre of the bottom margin. 28,6 x 35,9 cm. (# 5824)

Not in I.F.F. In database Getty Research Library. In database British Museum, state "before rest of inscriptions?". Lettered in lower margin with publication lines: "Se vend a Paris chez B. et I. Audran ruë de Faubourg St. Jâque vis a vis la ruë St. Dominique". After a painting made by Charles le Brun (Paris 1619-Paris 1690) in 1661, now in the Salon de Mars, Musée du Château, Versailles. The painting The Family of Darius before Alexander, was Le Brun's first royal commission and it established his favor with the French King Louis XIV, who demanded Charles le Brun to paint a large series of paintings depicting the history and battles of Alexander the Great. Benoît Audran I (1661-1721), his brother Jean Audran (1667-1756) and others made prints after these paintings, at the request of Louis XIV. Jules Hardouin Mansart, was Surintendant des Bâtiments du Roi, a charge he held from 1699 to his death in 1708. - Good impression, with small margins, the paper slightly discoloured. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Audran, Benoît I (Lyon 1661-Louzouer 1721). David and Goliath, after Daniele da Volterra. 1716. Large oblong engraving of David, brandishing a sword, keeps Goliath on the ground while grabbing him by the hair. Lettered below immage: "A monseigneur le Prince de Chelamar...Ministre de son Conseil privé, Grand Ecuier de la Reine, et Ambassadeur en France. etc. Benoît Audran, graveur ordin.re du Roy, dedie cette copie d'une des deux peintûres de Michel Ange Buonarrotta qu'occuppent les surfaces d'une grande pierre, representant le même sujet du combat de David et de Goliath en deux differentes attitudes, laquelle a eté presenté par son Ex.ce a Louis le Grand, à Marly le 25. Juillet de l'année 1715 au Nom de Monseigr. Judice son frere, Grand maître du Palais Apostolique. A Paris chés Le Pere et Vaulée rue St. Jacques à la ville de Rouan". 36,1 x 42,2 cm. (# 5860)

Cf. I.F.F. XVIII, I, 225, No. 24 (other state). Cf. Le Blanc I, 73, No. 26 (other state). In database British Museum. State with later publication address: probably state 2 (of 2), published in Paris and Rouen by Le Père & Avaulez. Wrongly attributed to Michelangelo on plate. The original painting, oil on slate, by the Italian painter Daniele da Volterra (Volterra 1509-Roma 1566), is now in the Musée du Louvre, Paris. Da Volterra, a close friend and follower of Michelangelo, painted a picture of David and Goliath on both sides of the stone. This original painting remained in Italy until 1715, year in which Louis XIV received it as a diplomatic present. The present engraving is one of a pair of two, made after these paintings. Benoît Audran I was admitted to the Académie Royale in 1709. At the request of Louis XIV he made many prints after paintings in his Royal collection. The dedicatee Antonio del Giudice, Prince of Cellamare (1657-1733), a Spanish politician and statesman, was Spanish ambassador in France. He plotted to overthrow the Regent and was sent to the frontier in 1718. - Blank margins slightly discoloured. Sharp impression on thick paper, with ample margins. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Audran, Girard (Lyon 1640-Paris 1703). Le Temps aydé par l'Amour de la Vertu, desbrouille des nuages de l'Ignorance, la verité de la Peinture. Pour sevir de frontispice aux tables des preceptes de la peinture. After Louis Testelin. Paris, 1680-1696. Beautiful circular etching: The personifications of Time and Love of Virtue pushing the clouds of Ignorance (donkey's head) away from Painting, personified by a reclining female figure with palette and paint-brushes. Etched title (see above) underneath, at bottom signed in the plate "L. Testelin pinxit. Audran scul. cum privil. Reg." 33,2 x 31,7 cm. (# 5841)

I.F.F. I, 133, No. 55. Robert-Dumesnil IX, 274 No. 47 (third state). In database British Museum (third state). Third state, intended as frontispiece for Henry Testelin's "Sentiments des plus habiles peintres sur la pratique de la peinture et sculpture" published in Paris in 1680 (second edition in 1696). The painter and etcher Louis Testelin (Paris 1615-Paris 1655) was the brother of the author Henry Testelin (Paris 1616-Den Haag/The Hague 1695). The original painting by Louis Testelin of c. 1655 is lost. - Reinforced at blank borders. Sharp impression. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Audran, Jean (Lyon 1667-Paris 1756). La vraye valeur est toujours invincible. Porus abandonné des siens blessa plusieurs de ceux qui l'environnoient, tua le frère de Taxile, & apres ce dernier éfort de courage il tomba luy même accablé de coups de dessus son elephant. Virtus timoris nescia sordidi... Paris, chez B. Audran et chez I. Audran, 1699-1708. Beautiful large oblong etching and engraving by Jean Audran after Charles le Brun, depicting the Battle of Hydaspes, 326 BC, where Alexander the Great fought against King Porus; with the latter riding an elephant at centre, and trying to repel the Greek soldiers surrounding him; two eagles flanking Mansart's arms in the bottom margin. Signed in the plate: C. le Brun in. I. Audran ex.; with 5 lines of engraved text in French and Latin underneath (see above); and dedication to Jules Hardouin Mansart by J. Audran. 29,1 x 59,6 cm. (# 5830)

Not. in I.F.F. In database of British Museum. Very fine and rare etching/engraving after Charles le Brun (Paris 1619-Paris 1690). Alexander the Great fought 326 BC at the battle of Hydaspes, nowadays in Pakistan, against the Indian Râja Pûru, named Poros by the Greek. Alexander won, but his army refused to go further into India, also because they encountered for the first time war elephants. The French King Louis XIV demanded Charles le Brun to paint a large series of paintings depicting the History of Alexander the Great. Several of those paintings, painted 1665-1673, are now in the Louvre; others were not executed and exist only in drawn preparatory studies. J. Audran, his brother B. Audran and others made prints after these paintings, at the request of Louis XIV. According to Claudia Sommer, Leiterin der Graphischen Sammlung des SPSG, Potsdamer neueste Nachrichten (18.07.09), the painting for our print stayed unfinished and existed only as a preliminary drawing on canvas. The plate is dedicated to Julles Hardouin Mansart, Surintendant des Bâtiments du Roi, a charge he held from 1699 to 1708. - Fine impression, cut to the plate mark, mounted. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Audran, Louis (Lyon 1670-Paris 1712). Moïse et le Serpent d'Airain (Moses and the Brazen Serpent), after Charles le Brun. Paris, chez le Veuve Audran rue St. Jacques aux 2. deux Piliers dor, (no date). Fine engraving showing a landscape with Moses and the Brazen Serpent set on a tree, surrounded by the people of Israel, who are fighting against the poisonous serpents. With three lines of engraved explanatory text underneath (see note); underneath signed in the plate "C. Le Brun pinx. L. Audran sculp." 27 x 36,7 cm. (# 5845)

I.F.F. I, 220, No. 3. Le Blanc I, 105, No. 2. Charles le Brun (Paris 1619-Paris 1690) painted two versions of Le Serpent d'Airain, a small one in 1649 which is now in the City Art Gallery in Bristol. This one also served as model for a gobelin, which is preserved in Paris, Mobilier national. The big painting was made for the "Couvent du tiers-ordre de Saint-François à Pique-Puce." The text underneath: "Le peuple d'Israel s'ennuiant du chemin et du travail, parla contre Dieu et contre Moise. C'est pourquoy le Seigneur envoia contre ce peuple des serpens dont la morsure brûloit comme le feu: ils vinrent donc à Moise et ils lui dirent: Nous avons peché: et Moyse fit par le commandement de Dieu, un Serpent d'Airain, et il le mit pour signe; et ceux qui aiant êté blessez le regardoient, étoient gueris. Numer. cap. 21". - Sharp impression with ample margins; small tear in blank part of upper margin. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Bartolozzi, Francesco (Firenze 1727-Lisbon 1815). Sacrificio, High Priest sacrificing a Ram, after Guercino. c. 1764. Large oblong etching; in the centre, a priest holding a dagger; on the right, a man leading a lamb; on the left, a bearded man preparing a pyre at the altar; three other figures behind them. Lettered at bottom "Guercino da Cento inv. F. Bartolozzi sc. Ex Collectione Comitis Antonii M. Zanetti qm. Hieron. F." 40,5 x 29,3 cm. (# 5864)

Calabi & De Vesme No. 2119.I. In database British Museum. State before plate number. Etching after a drawing by Guercino in the art collection of Count Antonio Maria Zanetti (1680-1767), a Venetian artist and art collector. The Italian and British printmaker and publisher Francesco Bartolozzi, worked from 1748 in Venice, briefly in Rome, moved to England in 1764 and worked as the official engraver to King George III. He co-founded the Royal Academy in 1768. In 1802, he was appointed as director of the Academy at Lisbon. Before his departure to London, Bartolozzi sold a series of 12 original copper plates with his etchings after drawings by Guercino, to Giovanni Battista Piranesi (1720-1778), who, according to Calabi & De Vesme, erased the detail of sale at Venice and published the etchings with plate-numbers in "Raccolta di alcuni disegni di Barbieri da Cento detto il Guercino", Rome, 1764, which was reprinted several times. The Italian painter and draughtsman Giovanni Francesco Barbieri is better known as Guercino (Cento 1591-Bologna 1666). - Paper browned, good impression, with very large margins.

Bartsch, Adam. Catalogue raisonné de toutes les estampes qui forment l'oeuvre de Rembrandt et ceux de ses principaux imitateurs. Composé par ... Gersaint, Helle, Glomy et P. Yver. Nouvelle édition. Entièrement refondue, corrigée et considérablement augmentée par Adam Bartsch. Réimpression de l'édition de 1797. Leipzig, A. Danz, 1880. With portrait of Rembrandt and several plates by A. Bartsch. 2 parts in 1 volume. 39, 1, 234 pp., 1 lf.; 182 pp., 1 lf. Large 8vo. Contemporary brown half morocco, back gilt with 2 labels (corners rubbed). (# 5907)

Famous oeuvre-catalogue of prints by Rembrandt. Entries: 375 prints by Rembrandt, 87 "in the manner of Rembrandt", and 88 after Rembrandt; states described.

Basan, Pierre François (Paris 1723 - Paris 1797). Les muletiers des Alpes. Both pinxit, F. Basan excudit. Paris, chés (sic) Basan graveur, (no date, ca. 1770). Fine large etching by Basan after Jan Dirksz Both, showing a landscape in the Italian Alps, a river meandering through the mountains, ships, a village, large trees and muleteers with their mules in front. Large oblong folio. 26,6 x 39 cm. (# 5800)

I.F.F. II, 121 No. 122. Le Blanc, Manuel de l'amateur d'estampes, 191 No. 441. Fine print from the rich collections of Pierre François Basan (Paris 1723 - Paris 1797), engraver, etcher and especially publisher of prints. Jan Dirksz Both (Utrecht 1615/18 - Utrecht 1652), was a famous Dutch painter and etcher, who stayed several years in Rome and focused on pictures of Italian landscapes after his return ca. 1642 to the Dutch Republic. - Mounted, with margins; collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Beham, Hans Sebald (Nürnberg 1500 - Frankfurt a.M. 1550). Coat of arms of Hartmann Maurus. Germany, ca. 1522. Magnificent woodcut; The escutcheon depicts the head of a moor with head-band, the crest of the helm consists of the bust of a moor between the antlers of a deer. Above 2 lines of text: "Insignia Hartmanni Maurill. Doctoris, Caesarei iudicii adsessoris" and underneath: "Virtus clara aeternaq. habetur". Border of the woodcut: 13,1 x 11,2 cm on leaf of 22 x 14 cm. (# 5559)

Hollstein III, 282. Pauli app. 1354a. Warnecke, Heraldische Kunstblätter, III, 209. Passavant III, 221 No. 321 (Dürer). Geisberg, No. 314, ill. p. 294. Very rare, only state of this beautiful armorial plate, which was formerly ascribed by Heller No. 2145 and others to Dürer. Possibly this plate was also used as ex-libris. "There can be no doubt, that many of the plates published in the ... 'Heraldische Kunstblätter' have been used as Ex-libris; with most of them this is evident at first sight" (Warnecke, Rare Book-plates, London 1894, page 2). "Early German bookplates are principally armorial in subject... The use of armorial bookplates was a natural consequence of a way of life in which heraldry played such an important function" (Johnson, A treasury of bookplates, page 4). Hartmann Maurus (Moer), counsellor of the elector of Cologne, professor of law and imperial court assessor, was the author of an important eye-witness account of the coronation of Charles V at Aachen in October 1520. - Fine impression on laid paper, with ample margins, very well preserved.

Beham, Hans Sebald (Nürnberg 1500 - Frankfurt a.M. 1550). Her Gregorius Mercz. Marcus April. Germany, 1546 - 1547. Engraving. 51 x 73 mm. (# 5444)

Bartsch VIII No. 155. Pauli No. 178 III (of 3). Hollstein, German, III 98. Good impression on laid paper of this fine engraving showing two peasants'couples, numbered "3" and "4", walking to the left. With signature HsB in upper right corner. Beham made in 1546 - 1547 a series of 10 numbered engravings: "Das Bauernfest oder die zwölf Monate" (The peasants' feast or the 12 months). His genre prints belong to the most charming depictions of life in the 16th century. - Small defect to upper left corner affecting the plate-number "2"; slightly foxed; thread margins; rare to find in this good condition.

Bellangé, Hippolyte (1800-Paris-1866). La douleur maternelle. Paris, Gihaut, 1823. Lithograph by Hippolyte Bellangé, printed by F. Villain. A young soldier, wounded, lying on the ground, looked after by a woman; she puts her arms around him, while her son holds her arm; beyond an troupe of soldiers with rifles or on horseback; in the far distance at left, a spire, and at right, the roofs of houses. Signed on stone at lower left on a plank of wood: "H. Bellangé"; below the image, lettered "chez Gihaut, b.ard des Italiens No. 5" at left and "Lith. de Villain" at right; below, the caption: "la douleur maternelle". 23,7 x 17,6 cm. (# 5891)

I.F.F. II, 90-91, No. 28. Beraldi II, 19, No. 4. Adeline, 170, No. 10. In database British Museum. Plate 7 taken from Hippolyte Bellangé's first album of "Croquis lithographiques", published in 1823. He was a French battle painter, whose art was influenced by the wars of Napoleon. From 1823 to 1835 he published 15 albums of lithographs focused on military history. - 3 tiny imperfections at lower borderline, a few light brown spots below image, small margins.

Bellangé, Hippolyte (1800-Paris-1866). Prise d'une redoute. Paris, Gihaut, 1823. Lithograph by Hippolyte Bellangé, printed by F. Villain. A battle scene, with soldiers charging to the left; in the foreground, a soldier gestures to the left, raising his sword high; he is followed by three soldiers, one of which aims his rifle straight ahead of him; beyond at left, a troupe of soldiers kneeling down on the top of a fortification. Signed on stone at lower right: "h.te Bellangé"; below the image, lettered "chez Gihaut, b.ard des Italiens No. 5" at left and "Lith. de Villain" at right; below, the caption: "Prise d'une redoute". 23,5 x 18,2 cm. (# 5892)

I.F.F. II, 90-91, No. 28. Beraldi II, 19, No. 4. Adeline, 193, No. 121. In database British Museum. Plate 4 taken from Hippolyte Bellangé's first album of "Croquis lithographiques", published in 1823. He was a French battle painter, whose art was influenced by the wars of Napoleon. From 1823 to 1835 he published 15 albums of lithographs focused on military history. - A few light brown spots below image?, small margins.

Berardi, Fabio (Siena 1728-Venice 1788). Italianate wooded river landscape with a shepherd and two women, a village with church in the background to the left, after Francesco Zuccarelli. Italy, between 1742-1788. Very large oblong etched and engraved pastoral scene, in foreground a standing shepherd with shepherd's pipe addresses two seated peasant women with a jar, resting beside a lake, at background to left an Italian village with church and a river, at bottom signed in the plate "Zuccarelli Pinx. Berardi Scul". 36,3 x 48,2 cm. (# 5857)

Thieme-Becker III, 368: "nach Zuccarelli (vier Landschaften mit Hirten)". Not in Le Blanc, Nagler. The Italian and British painter Francesco Zuccarelli (Pitigliano 1702-Florence 1788), worked in Rome, settled 1732 in Venice where he became famous as one of the most desired landscape painters of the 18th century; from 1752-1773 he lived in England, where he was one of the founding members of the Royal Academy in London; 1773 he settled in Florence. The Italian printmaker Fabio Berardi (Burradi), moved to Venice c. 1742. - Sharp impression on watermarked laid paper. Small margins, right lower blank corner nearly cut to plate-mark, just touching word "Scul". On verso handwritten annotation: "1832 18. Dec. ...".

Bieberkraut, James (Leipzig 1879-unknown). Im Stall (In the cow-house). Fine etching of two cows lying on the floor of a cow-house, underneath 2 small etched chickens; signed in pencil J. Bieberkraut. 23,4 x 29 cm. (# 5838)

James Bieberkraut, was a German Jewish painter and etcher. According to Münchner Maler V, 84: Bieberkraut descended from a Jewish family, which immigrated very probably from Palestine to Germany; thus Bieberkraut had still the Turkish nationality when he moved from Berlin to München in 1898. He lived and worked in München until his announced departure to Palestine on 20-4-1934. See on Bieberkraut also: Vollmer I, 207; and: Schaalman, James Bieberkraut der Maler und Radierer (in Bayerische Israelitische Gemeindezeitung, 1927, Heft 2, 32-35 (on internet). - Fine impression with ample margins.

Blasset, Nicolas. Unterschiedle Epitaphien inventiert von N. Blasset, zu Amiens. Augsburg, J. Wolff, (no date, before 1724). Complete suite of fine engraved title and six plates, numbered in the plates, Nos. 1-7, showing architectural funeral monuments. ca. 22,8 x 15,2 cm. (# 4458)

Guilmard 45. Fuhring No. (8475-8481), note. Not in RPK Amsterdam. Not in Kat. Orn. Berlin. First German edition, copied from the original French series "Les Epitaphes". With series number N°. 130. Fine suite of designs for richly ornamented epitaphs, composed of architectural shapes and decorated with little cherubs, vases, foliage scrolls and skulls. They had to be attached to the walls and pillars of a church. Nicolas Blasset (Amiens 1600 - 1659) was sculptor and architect. In the Cathedral of Amiens several of his sculptures and monuments are still preserved. - Cut to the plate-mark and laid down; occasionally slightly foxed and thumbed. Bound with two anonymous prints, one showing Moses and Aron with the Table of the Ten Commandmends.

Bléry, Eugène (Fontainebleau 1805-1887). Le vieux chêne aux mares de Bellecroix. 1843. Beautiful large etching on Chine collé, of the oak tree at the ponds of Bellecroix, inscribed on plate: "E. Blery del & sculp. - aqua forti". 42,7 x 48,8 cm. (# 5821)

IFF 28. Beraldi 28. In British Museum database. Landscape with, in the foreground, large oak tree at left and two cows drinking from a pond; nearby, a shepherd and a dog; in the background, oak trees, with figure and cows standing in the shade of one of them at centre; cross standing in plain at right. Eugène Bléry was a French printmaker, painter, and publisher. - 2 small tears, one repaired, in lower margin, tiny hole in lower part of print, a few very light brown spots; bright impression of the plate, with ample margins.

(Bonnart, Henry). Livre de portes a la moderne, gravées d'apres les plus habiles architectes et sculpteurs de ce temps. Paris, chez H. Bonnart, rue St. Jacques au Coq, n.d. (ca. 1693). Beautiful engraved title of an unrecorded series, showing designs of a door. 23 x 11,4 cm. (# 5547)

Unrecorded. Not in Amsterdam, Berlin, Hamburg, Paris, etc. (kind information of Dr Peter Fuhring). The engraver/publisher of ornament prints Henry Bonnart lived and worked in Paris ca. 1642-1711. - With margins, pasted on a blank leaf with old library stamp.

Borel, Antoine (Paris 1743-after 1810). Jupiter et Danae, after Annibale Carracci. Paris, 1786. Engraving after a painting of Carracci, drawn by Antoine Borel and engraved by Noël Lemire, showing the nude Dana lying on a sofa in a shower of gold (disguise of Jupiter=Zeus) and a cupido, with inscription "Peint par Annibal Carrache, Dessiné par Borel, Gravé par N. Le Mire ... Jupiter et Danae, De la Galerie de S.A.S. Monseigneur le Duc d'Orléans, A.P.D.R. Ecole de Lombardie". c. 19,5 x 22,4 cm. (# 5815)

Plate from: Couché, Jacques/Abbé de Fontenal, Galerie du Palais Royale gravée d'après les tableaux des différentes Écoles ...Paris, 1786 - 1808. The paintings of the Galerie du Palais Royale were reproduced in engravings and etchings, before being sold in England during the Revolution. - Slightly foxed.

Borel, Antoine (Paris 1743-after 1810). Jupiter et Danaé, after Antonio da Correggio. Paris, 1786 - 1808. Engraving after a famous painting of Antonio da Correggio, drawn by Antoine Borel and engraved by Ph. Triere, showing the nude Dana sitting on a sofa in a shower of gold (disguise of Jupiter=Zeus), with amor and 2 cupid's, with inscription: "Peint par A. Correge, Dessiné par Borel, Gravé par Ph. Triere, Jupiter et Danaé. De la Galerie de S.A.S. Monseigneur le Duc d'Orléans. A.P.D.R. Ecole de Lombardie." c. 17,5 x 22,3 cm. (# 5816)

Copy in reverse of a painting of 1531 by Antonio da Correggio , now in the Galeria Borghese in Rome. Plate from: Couché, Jacques/Abbé de Fontenal, Galerie du Palais Royale gravée d'après les tableaux des différentes Écoles ...Paris, 1786 - 1808. The paintings of the Galerie du Palais Royale were reproduced in engravings and etchings, before being sold in England during the Revolution.

Boucher, (Juste François Nathan, fils). Portals. Paris, (Le Père et Avaulez), (1773 - 1779). Complete suite of 6 fine plates, engraved by Pelletier. ca. 33 x 20,5 cm on leaves of ca. 39 x 26,3 cm. Sewn. (# 4466)

Guilmard 231. 32e Cahier, Nos. 187 - 192. First edition. This kind of 'cahiers' were sold seperately, as becomes evident from advertisements and from being sewn together as issued. Fine suite showing portals with pilasters and columns, together with their ground plans, in French Louis XVI style. François Boucher the Younger, architect, ornament designer and engraver, was born in Paris 1736, where he died ca. 1781. - Apart from a few brown spots in the margin of the last leaf, well preserved, with ample margins.

Bräutigam, Johann Jakob (1790-1868). Das Kind mit der Milch und der Schlange. (Sage). München, c. 1840. Etching on chine-collé, showing a child with a bowl of milk, sitting in a corn-field, the child raises a spoon, while a snake is drinking the milk, with etched title underneath and signed in the plate: Braütigam fecit. c. 12,5 x 10 cm. (# 5820)

Maillinger, Bilder-Chronik... München, II No. 2398. Lentner No. 12101. Johann Jakob Bräutigam was "Obermaler der kgl. Bayer. Porzellanmanufaktur". According to the ancient children's fairy tale, written down by the brothers Grimm: a snake drank the milk daily, one day the child took its little spoon and struck the snake gently on its head and said: eat the bread crumbs as well. - With blind stamp (not in Lugt), well preserved.

Brennhäuser, A.W. (Nürnberg 1819-München 1865). Die Brautfahrt; after Johann Heinrich Ramberg (Hannover 1763-1840). (Leipzig, Dresden, A.H. Payne, c. 1850). Charming steelengraving, by Andreas Wolfgang Brennhäuser after Johann Heinrich Ramberg, showing three young peasant women from Dachau, Bavaria, on a bridal journey, dressed in traditional Dachau costumes "Trachten" in front of a corn-field, in the back-ground the silhouette of München. 18,1 x 21,5 cm. (# 5809)

In Datenbank Deutsches Historisches Museum Berlin. - Thread margins, slightly foxed.

Bruyn, Abraham de (Antwerpen 1540-Köln 1587). Frieze: landscape with various animals, from left to right five dogs, three rabbits, two stags, two deer and a fox, trees in the background. 1578. Fine oblong engraving, unsigned. Small oblong folio: 5,4 x 21,5 cm. (# 5897)

Hollstein, Dutch, IV, 7, No. 127-138. Nagler, Monogrammisten, I, No. 410, 22. In database British Museum. This is one of a series of twelve friezes with wild and tame animals, one dated 1578. Abraham de Bruyn, engraver and publisher, born in Antwerp, where he was active from 1565, but often moved. 1570 in Breda, c. 1576-1578 in Cologne, 1580 in Antwerp and again after 1585 in Cologne where he died. He did much work for Plantin. - Trimmed to border line, a few very tiny damages. Good impression of this beautiful and rare engraving; under glass in mahogany frame.

Bruyn, Abraham de (Antwerpen 1540-Köln 1587). Frieze: landscape with various animals, from left to right two elephants, two rabbits, lion, stag, squirrel, two monkeys, parrot, two bears, three ibexes, trees in the background. 1578. Fine oblong engraving, at bottom signed in the plate "AdB". Small oblong folio: 5,6 x 22 cm. (# 5896)

Hollstein, Dutch, IV, 7, No. 127-138. Nagler, Monogrammisten, I, No. 410, 22. In database British Museum. This is one of a series of twelve friezes with wild and tame animals, one dated 1578. Abraham de Bruyn, engraver and publisher, born in Antwerp, where he was active from 1565, but often moved. 1570 in Breda, c. 1576-1578 in Cologne, 1580 in Antwerp and again after 1585 in Cologne where he died. He did much work for Plantin. - Trimmed to border line, a few very tiny damages. Good impression of this beautiful and rare engraving; under glass in mahogany frame.

Carlo Borromeo, St. Véritable portrait de la Statue Colossale de Saint Charles Borromeo sur Arone. Engraved by Jos. Rados after Leo Raimondus. 18th century. Very large engraving depicting the colossal statue of San Carlo Borromeo (Arona 1538-Milano 1584) in copper, designed by G.B. Crespi, on a base designed by Fontana; lettered in French with the title and an account of the history and dimensions of the statue. Signed in the plate "Raimondus Leo del. Jos. Rados sculp." 44,2 x 29 cm. (# 5879)

One of the tallest statues in the world, Il San Carlone, was erected in Arona, Italy, between 1624 and 1697. The work of Giovanni Battista Crespi, the statue is 23 m. tall and stands on a plinth 12 m. in height. Lettering on plate: "Mesure. Piedestal ...Piedes de Paris 36.0. Statue ... 72.0. Tour de la tête ... 20.0. ...". "Explication. La même a été erige en 1624 par ordre de son Eminence le Cardinal Fréderic Borromeo. Son hauteur est de piedes 72 et son piedestal de 36. On y entre par une plissure du surplis au côté droite, et on'y monte jusqu'a la tête, la quelle est de la circonference de 20 piedes. La dépence pour la construire est montée a la considerable somme d'un million, et cent milles livres milanaises". - Ample margins, fold in middle, foxed, tiny tear in blank margin.

Carracci, Annibale (Bologna 1560-Rome 1609). Galeria nel Palazzo Farnese in Roma del sereniss. duca di Parma ... dipinta da Annibale Carracci, intagliata da Carlo Cesio. Roma, Arnold van Westerhout, (no date, c. 1700). Series of 33 (of 44) very fine large engraved plates on 19 leaves, showing Baroque mural paintings and decorations in the Palazzo Farnese in Rome, engraved by Carlo Cesio (Cesi) after mural paintings by Annibale Carracci. Large folio. (# 5825)

Bartsch XXI, 108-114, Nos. 21-64. Cf. Fuhring Nos. 8993-9038. The Gallery of the Palazzo Farnese, Rome, painted by Annibale Carracci for cardinal Odoardo Farnese in 1597, was engraved by Carlo Cesio (Rieti 1626 - Rieti 1686) and published c. 1657 by Collignon. According to Fuhring this is the third edition with the name of the publisher Arnold van Westerhout (Antwerp 1651-Rome 1725), who replaced Collignon's name by his own. The plates, which are numbered 1-30, show beautiful scenes from Greek mythology. Some plates have a repeated plate-number, other plates are without plate-number (see explanation by Bartsch and Fuhring). Bartsch Nos. 59, 62, 63 are combined in one large etching with plate-number 29; Bartsch Nos. 60, 61, 64 are combined in one large etching with plate-number 30. The Flemish publisher, printmaker and painter Arnold van Westerhout worked in Antwerp, Prague, c. 1692 in Florence and was active c. 1700 in Rome, where he also died. - Without engraved title-page and dedication to Carlo Ottoboni (missing in most copies) and without the following 11 plates: Bartsch Nos. 29.9, 30.10, 33.13, 36.16, 38.18, 39.19, 42.22, 43.22bis, 44.23, 45.23bis, 58.28. 17 plates, which were originally double-paged, are lightly brown on the former fold; 7 plates slightly foxed, light waterstain to 5 plates; tear in 2 plates, in one of them with loss of a small piece in blank lower part of plate; two small holes in one plate. About half of the plates with very big or very ample margins, and half of the plates with small margins are mounted.

Cars, Laurent (Lyon 1699-Paris 1771). Michel Anguier de la Ville d'Eu sculp.r ordre du Roy Recteur en son Academie de Peint.re et de Sculp.re. after Gabriel Revel. 1733. Fine large engraved portrait of the French sculptor/medallist Michel Anguier; half-length, turned to left but looking in front, wrapped in drapery, in oval frame, lettered with title (see above) around oval; lettered on pedestal "Gab.Revel pinx. Gravé par Laurent Cars pour sa reception à l'Academie en 1733". 36,2 x 25 cm. (# 5852)

I.F.F. III, 475, No. 33. Le Blanc I, 608, No. 20. Firmin-Didot, Graveurs de Portraits en France, No. 2477. Second state (of 2), with lettering. Fine artist's portrait/portrait d'artiste, also Laurent Cars' Reception Piece/Morceau de Réception for his admission to the Académie de Peinture et de Sculpture in Paris. The engraver Laurent Cars was admitted to the Royal Paris Académie in 1733 with this engraved portrait of the Royal sculptor and rector of the Académie, Michel Anguier (Eu 1612 or 1614-Paris 1686); after a painting, now lost, by Gabriel Revel (Château-Thierry 1643-Dijon 1712), painted in 1682 for his admission to the Royal Académie. - Pencil stroke touching immage, thumbed. Sharp impression on heavy paper, with ample margins.

Chasteau, Guillaume (Orléans 1635-Paris 1683). Jesus sortant de Jericho toucha les yeux de deux aveugles, et aussy tost ilz virent. Egrediens Jesus ab Jericho ... Dapres le tableau du Poussin hault de 3. pieds 7 pouces et long de 5 pieds 4 pouces qui est au Cabinet du Roy. Ad tabulam ... N. Poussin pinxit. G. Chasteau sculpsit. Paris, c. 1672-1674. Large oblong etching and engraving showing Christ healing the blind of Jericho engraved by Guillaume Chasteau after the painting "Les aveugles de Jéricho" by Nicolas Poussin. Signed in the plate. With 2 engraved lines of French and Latin text underneath (see above). 41,5 x 52 cm. (# 5829)

I.F.F. II, 288 No. 15.III. Andresen 181.II. Wildenstein 65.III. In database of the British Museum. Third state (of 3). The painting "Les aveugles de Jéricho", made in 1650 by the famous French painter Nicolas Poussin (Les Adelys in Normandy 1594-Rome 1665), is now in the Musée du Louvre in Paris. In 1665 it was acquired by King Louis XIV. This print is one of the main works of the engraver and publisher Guillaume Chasteau, who worked for Louis XIV. "Pl. pour le Cabinet des planches gravées du Roi. Cuivre à la Chalcogr. du Louvre" (Angoulvent, 1202). "An impression of this plate is attested in Mariette's collection in 1674" (British Museum). It depicts Christ placing his hand on the forehead of a blind man kneeling before him; behind the man, another blind man, also kneeling, with young man seizing his forearm; a woman holding a baby standing at left; six Apostles surrounding Christ; classsical buildings of Jericho in the background. The engraved title in French and Latin contains the dimensions and provenance of the original painting. - Good impression on strong laid paper, with ample margins; lightly foxed; collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Chateau, Nicolas (Paris c. 1680- c. 1750). Angelica and Medoro; after Louis de Silvestre. (Paris), (Charles) François Silvestre, (1700-1730). Beautiful large etching and engraving of the lovers Angelica and Medoro, seated naked in a forest, holding hands, Medoro carving their names on a tree. In centre of bottom margin the Condé-Conti coat of arms and 4 lines of engraved French text "Dédié et Présenté A son Altesse Sérénissime Madame la Princesse de Conty Doüairiere. Par son tres humble et tres obeïssant Serviteur François Silvestre. Peint par Loüis Silvestre le jeune." Signed in the plate "N. Chateau Sculp. F. Silvestre ex. C.P.R." 42,4 x 31,5 cm. (# 5880)

I.F.F. 18e, IV, 230 No. 5. Thieme-Becker XXXI, 36. Nagler XVIII, 435. Second state, with letter (proof before letter in database British Museum). Angelica and Medoro are characters from Ludovico Ariosto's (1474-1533) poem "Orlando Furioso". About the life of the engraver Nicolas Chateau/Chasteau little is known. Louis de Silvestre (Sceaux 1675-Paris 1760) was professor at the royal academy in Paris, worked from 1716 as royal painter for the Polish Kings in Dresden and Warschau, from 1727 he was director of the academy in Dresden, and returned only 1748 to Paris where he became director of the royal academy. According to Thieme-Becker the original painting is lost. - Trimmed within plate-mark, blank border strengthened. Sharp impression on strong paper. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Chéreau, François (Blois 1680-Paris 1729). Nicolas de Launay. Escuyer Conseiller Secretaire du Roy, Maison Couronne de France et de ses Finances, Directeur de la Monnoye des Médailles et de l'Orfévrerie de sa Majesté. After Hyacinthe Rigaud. 1719. Beautiful, very large, engraved portrait of the French goldsmith/medallist Nicolas de Launay, three-quarter length, head turned to left, with left hand pointing at viewer and right hand resting on table, wrapped in ample drapery. Lettered underneath with name and titles of sitter (see above) and signed in the plate "Peint par Hyancinthe Rigaud en 1713. Gravé par Fr. Chereau en 1719." 48,6 x 35,5 cm. (# 5851)

Firmin-Didot, Graveurs de Portraits en France, No. 252. I.F.F. IV, 326, No. 41/II. Le Blanc II, 8, No. 31. In database British Museum. Second state, with lettering. This very large portrait is a main work of the Royal French engraver François Chéreau. Nicolas Delaunay or De Launay (1646-Paris 1727) was a very famous goldsmith, who worked extensively for Louis XIV. In 1696 he was appointed, Director of the Royal Mint and became Secretary to King Louis XIV, who granted him a noble rank. The original portrait painted in 1713 by the Royal painter Hyacinthe Rigaud (Perpignan 1659-Paris 1743), the leading French portrait painter of his era, is lost. - A few tiny tears in blank margins, tiny part of lower left corner repaired; blank margins slightly thumbed. Good impression on strong paper.

Chodowiecki, Daniel N. (Gdansk 1726-Berlin 1801). Portrait of Wilhelm Abraham Teller. (Berlin and Stettin, Fr. Nicolai, 1776). Beautiful stipple etching depicting a bust in pofile to right in a roundel. Lettered on the tablet "D.W.A. Teller" and at bottom right "D. Chodowiecki ad viv. del & sc. 1775". 15,7 x 9,5 cm (image). (# 5847)

Engelmann No. 142. Bauer No. 258 (third state). In database British Museum.Third state (of 3). Illustration to "Allgemeine Deutsche Bibliothek", the famous periodical published by Friedrich Nicolai. Wilhelm Abraham Teller (Leipzig 1734-Berlin 1804) was an enlightened Protestant theologian, pastor, professor of theology and General Superintendent at the University of Helmstedt; later Provost of Cologne, with a seat in the Supreme Consistory of Berlin; member of the Berlin Academy of Sciences. He was the author of numerous (controversial) books and one of the chief contributors of Nicolai's "Algemeine Deutsche Bibliothek". The German Polish artist Daniel Nicolaus Chodowiecki was the most famous German graphic artist of his time. - Well preserved, sharp impression on thin paper, with small margin.

Chotzemitz (Kolín). Plan der Schlacht bei Chotzemitz, am 18. Jun. 1757 zwischen den Preussen commandirt von Sr. Maj. dem Könige, und den Oesterreichern unter Anführung des Feld Marschalls Daun, gewonnen von den letztern. (Frankfurt a.O, Leipzig, 1777). Engraved military map with explanatory text in German, in upper right corner "Tab III", illustrating the Battle at Chotzemitz/Kolín between Prussia and Austria. Oblong folio, ca. 27 x 40 cm. (# 5783)

In IKAR, Landkartendrucke vor 1850. Military map published as appendix to: Lloyd, H. Geschichte des letzten Kriegs in Teutschland zwischen dem Koenige von Preussen und der Kayserin Koenigin und Ihren Alliirten in den Feldzuegen in den Jahren 1756 und 1757. Frankfurt a.O., Leipzig, 1777. During the Seven Years War, a worldwide war, a struggle for supremacy was going on in Germany between the House of Austria and the rising Kingdom of Prussia of Frederick the Great (Friedrich der Grosse). The Battle of Kolín was an early battle of the seven Years' War. It ended in the defeat of Frederick the Great. The Austrians under command of Daun won the battle. - Lightly browned, with margins.

Couché, Jacques (Gournay/Abbeville 1750/59-1835?). Le retour au gite; after Morete (Moreth/Morette). Paris et Londres, chez Tessari et Co., (end of 18th century). Oblong etching and engraving of a landscape with shepherd, shepherdess and child, bringing back their herd; the shepherd is chasing a cow, who is passing a hut. At bottom signed in the plate "Peint par Morete. Gravé par J. Couché"; in centre of bottom margin cartouche and 4 lines of engraved text in French: "Le retour au gite. Dédié à Monsieur le Baron de Poudenx Colonel d'infanterie Premier Maître d'Hôtel de Monseigneur le duc d'Orléans. A Paris et a Londres chez Tessari et Co. Par son très Humble et très Obéissant Serviteur Couché". 20 x 25,2 cm. (# 5871)

I.F.F. (18e siècle) V, 267, No. 4. Le Blanc II, 56, No. 24. The French printmaker Jacques Couché was born in Gournay in 1750 according to some, and in Abbeville in 1759 according to others, he was engraver to the Duke of Orléans, the date of his death is unknown. Moreth/Morette was a French painter and draftsman, active 1796-1817 (see Nagler X, 533, this print). Companion piece to I.F.F. No. 5 ("Je R'Aurai mon Etrille ..."). - Trimmed to plate-mark, small tear in lower margin touching one letter, thumbed and slightly foxed.

Coypel, Charles Antoine (Paris 1694-Paris 1752). La France rend grace au ciel de la guérison du Roy... Le tableau est dans le cabinet de la Reine. Presenté a la Reine par son tres humble et tres fidel sujet P.L. Surugue. Carolus Coypel inv. et pinxit. Aug.(us)tus 20.e 1744. Petrus Surugue filius sculpsit. Paris, chez Surugue graveur du Roy rue des Noyers, 1744. Fine large engraving showing an allegory of France, in the figure of a crowned woman with raised arms, dressed in a gown covered with fleurs de lis, a shield at her feet, engraved by Pierre Louis Surugue after a painting of Charles Antoine Coypel. With engraved text underneath. 38,5 x 24,3 cm. (# 5826)

Nagler XX, 135 (Surugue) No. 7. Le Blanc III, 613 No. 41 (Louis Surugue). Painted as an expression of thanks for the recovery of King Louis XV from a severe illness in 1744. The original painting by Charles Antoine Coypel was placed in the appartments of the Queen in Versailles. Pierre Louis Surugue (Paris 1716-Paris 1772) was a French engraver and publisher, who sometimes signed as P. Surugue le fils. - A very good impression on thick paper, with ample margins. Some discoloration of the sheet. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Czaslau (Caslav). Les environs de Czaslau avec le plan de la bataille d. 17 May 1742 entre les Autichiens & les Prussiens. Schlacht der Oesterr. u. Preussen bey Czaslau der Hauptst. im Czaslauer Kr. im Königr. Böhmen. (Nürnberg), zu finden bey den Homännischen Erben, 1742. Engraved military map, in contemporary handcolouring, showing the positions of the Austrian and Prussian armies in the neighbourhood of Czaslau and Kuttenberg during the War of Silesia; with explanatory text in French and German; in right upper corner "ad No. 21 Erlang Z(eit) E(xtr.)". Oblong folio, ca. 30,7 x 34,3 cm. (# 5784)

In IKAR, Landkartendrucke vor 1830. Rather rare military map. During the War of the Austrian Succession (1740 - 1748), which comprises also the First Silesian War, the Austrians under Prince Charles of Lorraine fought against Prussia under Frederick the Great (Friedrich der Grosse). In the Battle of Czaslau (Caslav) of 1742 the Prussians defeated the Austrians. This kind of military maps, published for a special event, was often printed on thin paper and poorly preserved and is therefore rare. - Mounted; very lightly foxed, but a good copy.

Dancker Danckerts (Amsterdam 1634 - 1666). Crab-fishers by night. After Nicholaes Berghem (Haarlem 1620 - 1683 Amsterdam). Very fine large etching. 37,7 x 46,8 cm. (# 2236)

Wurzbach 8. Hollstein (after N. Berghem) 87. Hollstein 25: "Chief work(s) of the engraver". Spiegel van Alledag, Nederlandse Genreprenten 1550 - 1700, Amsterdam, Rijksmuseum, 1997, pp. 344 ff. with large illustration. State V (of 5). Famous and important work of art. The series of four landscapes to which the crab-fishers by night belong is known as the four times of the day, morning, afternoon, evening, night. But, according to Spiegel van Alledag, it is questionable if they were considered as a series in the time of their creation. "De serie van vier waartoe de Krabvissers by nacht behoort staat te boek als de Tijden van de dag, maar het is de vraag of deze in de tijd van ontstaan als een cyclus werd gezien". Crab-fishing is seldom depicted on paintings. Here are depicted a rich couple on horseback and fishermen standing in the water, one holding a crab in his hand, the other with burning straw in his hands, causing dramatic light effects. - Good impression with margins.

Darcis, Louis (?-1801). Le gouvernement protège le commerce; after Simon Louis Boizot. Paris, Depeuille, 1796. Beautiful stipple etching and engraving on dark ground, showing the French government personified by the full-length figure of Pallas Athena/Minerva, a rowing oar in her right hand, holding with the other hand a shield above the head of commerce, personified by a merchant, who is sitting on a bale of merchandise. Signed underneath "Boizot delineavit. Darcis sculpsit" and lettered with title (see above) and publication address "A Paris, chez Depeuille, Rue Denis près celle aux Ours". c. 46,7 x 37,5 cm. (# 5836)

I.F.F. VI, 25 No. 24. Not in Le Blanc. In Paris, Louvre, Chalcographie. Only state. This political and economical print was inspired by the French Revolution (1789-1799), which Simon Louis Boizot (Paris 1743-Paris 1809) supported; he was a French sculptor and gifted designer. The date of birth of the stipple engraver Louis Darcis is unknown, he flourished in Paris towards the end of the 18th century. "Allégories révolutionnaires, d'après Boizot... pour l'ornement des salons ..." (I.F.F.). - Blank margins lightly discoloured. Good impression. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Delafosse, Jean-Charles. Vases. (Augsburg), J(ohann) G(eorg) Hertel, (no date, ca. 1770). Complete series of 6 engraved plates, with plate-numbers Nos. 1-6. ca. 25 x 18,7 cm. (# 4474)

Not in any of the usual bibliographies. Very rare German edition copied from the original entitled French series. With series number N°. 374. The work of Jean-Charles Delafosse (Paris 1721 or 1734 - 1789), architect and ornament designer, belongs to the most important examples of the Louis XVI style. Very characteristic for his style are the festoons, which adorn his designs. Johann Georg Hertel (Augsburg 1700 - Augsburg 1775) was printseller and print publisher. - Cut to the plate-mark, ink-stain on last leaf; lightly browned.

Desrochers, Étienne (Lyon 1668-Paris 1741). François Verdier. Peintre ordinaire du Roy, & ancien Professeur en son Academie de Peinture et de Sculpture. After Jean Ranc. 1723. Large engraved portrait of the painter François Verdier, half-length, head turned to the right, in an oval within rectangular frame, a palette with brushes and a portcrayon below; engraved inscription (see above) on pedestal; in the plate signed underneath "Ranc pinxit. Gravé par E. Desrochers pour sa reception a l'Academie en 1723." 36 x 25,8 cm (plate-mark). (# 5848)

I.F.F. VII, 260, No. 597. Le Blanc II, 121, No. 121. Firmin-Didot, Graveurs de Portraits en France, No. 2483. Second state (of II), with lettering. Fine artist's portrait/portrait d'artiste, also Reception Piece/Morceau de Réception for Desrochers' admission to the Académie de Peinture et de Sculpture in Paris. Étienne Jahandier Desrochers was admitted to the Paris Académie in 1723 with this engraved portrait of the Royal painter François Verdier (Paris 1651-Paris 1730), after a painting of Jean Ranc (Montpellier 1674-Madrid 1735). Desrochers is especially known as a good portraitist. - Sharp impression on heavy paper. Thread margins. Paper very lightly browned.

(Devéria). Collection de 25 portraits des personnages les plus célèbres du siècle de Louis XIV, avec une notice sur chacun. Paris, Lemarchand, 1829. With 25 fine steel-engraved plates showing portraits of Mme de Sévigné, Louis XIV, Madame de Maintenon, Turenne, Le Rochefoucauld, Bossuet, Descartes, Molière, La Fontaine, Boileau, Corneille, Racine, etc., engraved by different artists after Devéria. 55 pp. 8vo. Original wrappers (slightly foxed, small defects to spine-ends), uncut. (# 5347)

The engravers are Dien, Tavernier, Decauvilliers, Wegwood, Sixdeniers, Muller, Adam, Johanneau, etc. Each portrait is accompanied by a biography of the depicted person. On the front-cover is printed: "Pour faire suite à toutes les éditions des lettres de Mme de Sévigné". - Slightly foxed.

(Dolivar, Jean). Retables. Aug. Vind. (Augsburg), Jeremias Wolff, (no date, before 1724). Complete suite of fine title and 5 plates, numbered in the plates, Nos. (1)-6, etched by Johann Leonhart Wüst. ca. 22,5 x 15,6 cm on leaves of ca. 30 x 20,5 cm. Sewn. (# 4448)

Not in Fuhring or any of the other usual bibliographies. Very rare German edition copied from the original French series "Nouveau livre d'Autel" (Paris 1690, see: Kat Orn. Berl. No. 3714 and Guilmard 99 - 100). Very elaborate designs for altar retables in baroque style, i.e. for architectural frames enclosing decorated panels above back of altars. Jean (Juan) Dolivar, architect and engraver (Saragossa in Spain in 1641 - Paris? 1692), worked in Paris together with his uncle Jean Le Pautre and after J. Berain. Johann Leonhart Wüst (1666 - 1735) was goldsmith and engraver in Augsburg. - Occasionally foxed, blank margins slightly thumbed. Contemporary handwritten numbers in blank corners. Ample margins.

(Dolivar, Jean). Retables. Aug. Vind. (Augsburg), Jeremias Wolff, (no date, before 1724). Complete suite of fine title and 5 plates, numbered in the plates, Nos. (1)-6, etched by Johann Leonhart Wüst. ca 21,2 x 14,6 cm. (# 4441)

Not in Fuhring or any of the other usual bibliographies. Very rare German edition copied from the original French series "Nouveau livre d'Autel" (Paris 1690, see: Kat Orn. Berl. No. 3714 and Guilmard 99 - 100). Very elaborate designs for altar retables in baroque style, i.e. for architectural frames enclosing decorated panels above back of altars. Jean (Juan) Dolivar, architect and engraver (Saragossa in Spain in 1641 - Paris? 1692), worked in Paris together with his uncle Jean Le Pautre and after J. Berain. Johann Leonhart Wüst (1666 - 1735) was goldsmith and engraver in Augsburg. - 5 of the plates cut out within plate mark and laid down, plate 5 with ample margins; small defects to blank part of 2 plates, 1 plate thumbed. Blind collector's stamp, not identified in Lugt.

Dubosc, Claude (Paris 1682-London c. 1746). Susanna and the Elders. From the original picture, in the collection of his Grace the Duke of Devonshire. Annibal Carracci pinxit. Cl. Du Bosc sculpsit. London, John Boydell, March 25th 1778. Fine large engraving, showing Susanna sitting half naked next to a large fountain, seized by one of the elders, the other elder climbing over a ballustrade behind her; in the background a landscape with large building; 3 lines of engraved text underneath (see above), engraved by Claude Dubosc (Du Bosc) after Annibale Carracci (Bologna 1560-Rome 1609). 34,7 x 40,3 cm. (# 5828)

Cf. I.F.F. VII, 360 No.1, for the original state. Later state, published after Dubosc's death. Claude Dubosc or Du Bosc was a Paris engraver, who went to England in 1712. John Boydell (1719-1804) was the leading London print publisher of his time. - Good impression. Lightly browned, small stain in blank lower left corner. Trimmed to the plate-mark at lower margin, small margins at three other sides. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Duplessi-Bertaux, Jean (1750-1819). Entrée des Français a Venise, en floréal, an 5. (Paris, c. 1800). Fine large oblong etching depicting Napoleon's French Army upon entering Piazza San Marco in Venice on may 15th, 1797; etched by Duplessis-Bertaux and finished by Delaunay le jeune, after Carle Vernet. 30,5 x 42 cm. (# 5823)

IFF, Duplessi-Bertaux, 545. IFF, Launay, 237. From: Duplessi-Bertaux, Tableaux historiques des campagnes d'Italie, Paris, 1799-1801. - Light brown stain in blank margin, with ample margins.

Feuillet, G. Liure de cheminée, nouvellement inventez et dessigné par G. Feuillet, propre pour les maçons et menuisiers. Paris, N. Bonnart, (no date, ca. 1675). Complete suite of fine engraved title and 5 plates, showing fireplaces. ca. 26,4 x 16,7 cm on leaves of ca. 32,5 x 21 cm. (# 4453)

Guilmard 111. Kat. Orn. Berl. No. 3782. Not in Fuhring. First edition of this fine suite of fireplaces in French Louis XIV style, intended for masons and carpenters. The French ornament designer G. Feuillet was active ca. 1675. The publisher Nicolas Bonnart (Paris ca. 1637 - 1718) was also engraver and printseller. - Waterstain in lower part of plates, tiny damp stains, slightly foxed. Ample margins.

Fisher, Edward (Dublin 1730 - London ca. 1785). St. Matthew. Done from an original picture in the collection of Mr. Hone. Spagneletto pinx. E. Fisher fecit. London, Laurie & Whittle, 12. May 1794. Beautiful mezzotint engraving by Edward Fisher after Giuseppe Ribera, nicknamed il Spagnoletto, with plate-number 36; showing the bust of St.Matthew with white hair and beard, reading a book. ca. 33 x 23 cm. (# 5798)

Le Blanc II, 234 No. 1. Nagler V, 22 and XIV, 394. Thieme-Becker XII, 54 and XXVIII, 233. Edward Fisher (Dublin 1730 - London ca. 1785) was a brilliant Irish engraver of mezzotints. Giuseppe (Jusepe, José) de Ribera (Játiba ca. 1588-1590 - Naples ca. 1652-1656), with nick name "Lo Spagnoletto", little Spaniard, was a famous Spanish baroque painter, who worked in Naples. - Very lightly foxed, with ample margins; with collector's stamp on verso of the "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Flachenecker, Wolfgang (Zirndorf 1792-after 1847). Albert III Herzog in Baiern verweigert die Annahme der Böhmischen Krone im Jahr 1440. München, J.G. Zeller, (1821). Very large chalk lithograph with a pale yellow plate tone: Duke Albert III of Bavaria refuses in 1440 the offered Bohemian crown. Lettered below "Gemalt und auf Stein gezeichnet von W. Flachenecker" and with title (see above). 43 x 33 cm. (# 5900)

Winkler No. 214,3. Dussler 44. Incunable of lithography. "Er sitzt links unter einem Baldachin, flankiert von zwei Räten, vor ihm vier Abgesandte aus Böhmen, der vorderste mit der Krone auf einem Kissen." (Winkler). The German lithographer and painter Wolfgang Flachenecker, was born in Zirndorf near Nürnberg, worked in München, Denmark (where he is known as Flachner), Wien and Rome. - Ample margins.

Fleury - Eigentliche Vorbildung des harten Treffens so zwischen den Mansfeldischen und Spanischen auff den Brabändischen Grentzen vorgangen Anno 1622. Frankfurt a.M., heirs of M. Merian, 1635. Large battle-scene near the village of Fleury in Hainaut (Henegouwen). 26,6 x 34,5 cm. (# 5443)

From Theatrum Europaeum. - Mounted, small tears in lower margin touching a few letters of the subscription only, slightly browned, with margins.

(Francard, Laurent). Cheminées nouvelles a la mansarde. Paris, N(icolas) Langlois, (no date, ca. 1680). Complete series of nice etched title and 5 plates showing chimney-pieces with scales of measurements in French feet. ca. 27,7 x 16,8 cm on leaves of ca. 29 x 19,8 cm. Sewn (title loose). (# 4462)

Not in Fuhring, Guilmard, or any of the other usual bibliographies. Cf. Kat. Orn. Berlin No. 3786 (later edition published by I. Mariette). Very rare first edition. Complete series of designs for nicely ornamented chimney-pieces, in architectural style, with mirrors. A typical feature of two designs is the cornice of the frieze above the tablet, which is interrupted by a round medallion. The plates are irregularly numbered, as Francard included three (changed) plates from another series (see explanation of Kat. Orn. Berl.) Laurent Francart (flourished in Paris ca. 1681 - 1690), architect, ornament designer and painter, became Royal architect. The ornamentation of the portal of the Parisian Dôme des Invalides was made by him. - Small stain to two plates. The word 'cheminé' is added to 4 plates in contemporary handwriting.

Francard, Laurent. Portes cochere de menuserie, nouvellement gravée sur des desseins de Mr. Francard. Paris, J(ean) Mariette, (ca. 1710). Suite of fine etched title and 5 plates, with plate-numbers 1-6, showing designs of wooden doors for carriage-entrances. ca. 33 x 20,7 cm on leaves of ca. 37,5 x 29,2 cm. Sewn. (# 4482)

Not in Fuhring. Cf. Guilmard 48, 6 plates (first edition by Nicolas Langlois). Second edition, reissued by Jean Mariette, as part of his "Architecture à la mode". Next to the plate-numbers 1-6, the plates contain also the plate-numbers Nos. 1-2, 6, 3, 5, 4. Laurent Francard (flourished in Paris ca. 1681 - 1690), architect, ornament designer and painter, became Royal architect. The ornamentation of the portal of the Parisian Dôme des Invalides was made by him. - 4 plates strenghthened, small holes and tears repaired in 3 plates. Brown stains.

Frankfurt a.O. Plan der Bataille welche den 12 Augusti 1759 unweit Francfurt an der Oder, zwischen der Kayserl. Russischen Armee, unter Commando des G.F.M. Soltikof, und der unter Commando ihres Königes stehenden Preussischen Armee vorgefallen ist. (Augsburg, J.A. Fridrich and Paris, Rosselin, after 1762). Engraved military map, with German title and explanatory text underneath, depicting the battle-fields at Frankfurt a.O., Lebus, Goriz, Pedeke, Reitwein. Drossen, Frauendorf, Storkau, Trettin, Sternberg, Kunersdorf . Small oblong folio. ca. 18 x 27 cm. (# 5799)

In IKAR (Berlin). From: Jeziges Kriegs-Theater... by Jacob Andreas Friderich, after 1762. Title-cartouche in lower right corner, legenda-cartouche in lower left corner, with explanatory German text underneath. The Russians under Command of Soltikof, the Prussians under Friedrich der Grosse, the Austrians under command of general Laudon; also involved were Croats "Croaten, so während der Battaille die Passage über die Oder bedeckten". - Browned.

Frisius, Laurentius. Carta Marina universalis 1530. Nach dem einzig bekannten Exemplar in der Bayerischen Staatsbibliothek in München neu herausgegeben. Facsimile L. Rosenthal's Antiquariat, München, ca. 1920. 12 facsimile plates (46 x 59,5 cm), which should be pasted together to form one very large map (122 x 206 cm). Large oblong folio. Bound together in original wrappers. (# 1941)

Huge nautical map with very extensive German explanatory inscriptions in the map itself. Of the original map only the copy in the Bayerische Staatsbibliothek in München is preserved. Laurentius Frisius (ca. 1490 - ca. 1532), a native of Colmar, was physician, astrologer and geographer in Metz and Strassburg.

Gail, Wilhelm (München 1804-München 1890). Aus dem Kreutzgang des Klosters Sn. Juan de los Reyes in Toledo. Partie du cloître de Sn. Juan de los Reyes à Toledo. München, Piloty u. Loehle, (c. 1835). Large tinted lithographed plate, signed in the plate "Wilh. Gaïl 3/9", lettered at bottom in the plate "N. d. Natur u. auf Stein gez. v. W. Gail.", "Gedr. in d. Kunstanstalt v. Piloty u. Loehle.", "Zu finden bei H. Kohler et Comp. in München." Lettered underneath with title in German and French (see above). 36,5 x 26,8 cm. (# 5913)

The German Painter Wilhelm Gail visited Spain in the early 1830's; the monastery was abandoned in 1835. - Ample margins, margins slightly foxed.

Garneray, Ambroise-Louis (Paris 1783-1857). Vue de La Bastide. L. Garneray pinx.t et sculp.t. (Paris, Panckcouke, 1823 - 1832). Beautiful aquatint engraving, showing the port with ships, labourers working on the quay and passers-by. ca. 18,5 x 27 cm. (# 5808)

Thieme-Becker XIII, 202-203. From É. Jouy, Vues des côtes de France dans l'océan et dans la Méditerranée. Garneray went to sea as a young boy, served on battle ships, whaling vessels, expeditions to the Caribbean and the Pacific Ocean, spent 8 years in jail in England after being captured at sea. After his return to France he established himself as a marine painter. - Very lightly foxed, large margins.

Goez, J.F. von (Hermannstadt 1754-Regensburg 1815) 16 etchings of actors on stage. (Germany, München, Regensburg), 1781 - 1797. 16 very fine etchings of actors, male and female, performing on stage, in very nice costumes and decors, signed and part of them dated. Small 8vo. (# 5802)

Joseph Franz von Goez, Götz or Goetz, a German painter, etcher and engraver, was called by his enthousiastic contemporaries the German Hogarth. He also wrote and directed theater plays and musical drama and made numerous etchings and engravings of actors on stage, while playing in these and other theatre performances. The present etchings are very probably designed after particular stage performances. They are very interesting as Goez observed the various characters played by the actors very thoroughly and depicted all the details very accurately. They give very important information on 18th century German melodrama. Goez lived from 1779 - 1783 in München, then in Augsburg, from 1785 - 1791 in München again, and from 1791 - 1815 in Regensburg; 3 etchings are dated 1781, so made in München; one etching is dated 1793 and one 1797, so both made in Regensburg. - Mounted of old, sharp impressions with margins; waterstains to 2 plates, lightly foxed. - Added: Gradmann, Johannes (Active in Regensburg 1778). Etching showing a drunk man sitting on a barrel, numbered 1, signed Joh.s Gradmann exc. A.V. (Augsburg). Small 8vo. - And added: S.D.R. Sc., after Loutherburg. Fine etching signed S.D.R. Sc. showing a woman with vegetables in her raised skirt, to the right a basket with vegetables. Small 8vo. As described by Nagler, Monogrammisten IV, No. 4038, 4.

Gunst, Pieter van (Amsterdam 1659-after 1731). Portrait of Isaac Verburg, after Jan Maurits Quinkhard. Fine engraved portrait bust directed to right, with long-haired wig, in an oval; lettered around oval "Isaacus Verburgius Lugd. Batav. Ut vivas vigila." Below "natus 1684", and 6 line Latin poem by D. Hoogstratanus (=David van Hoogstraten); at bottom signed in the plate "Quinckhardt pinxit. P. van Gunst sculpsit". 34,5 x 22,5 cm (plate mark). (# 5854)

Van Someren No. 5734. Wurzbach I, 622, No. 54. Isaac Verburg was born in Leiden, according to this engraving in 1684, according to others in 1680. He was Rector of the Latin schools in Amsterdam and author and translator of several books, he died 1745 in Amsterdam. The painting by Jan Maurits Quinkhard of 1725, is in the Rijksmuseum in Amsterdam. This print, by the Amsterdam engraver Pieter Stevensz van Gunst is thus made between 1725 and c. 1731. - Mounted, good impression, with small margins.

Hallé, Noël (Paris 1711-Paris 1781). Monseigneur le Duc de Chartres passe a N. Dame de Gournay ou il est reçeu a la porte de l'Eglise par M.re Jean Baptiste Thomas du Taillis curé qui l'attendoit a la tete du Clergé et celebra la messe en presence de Son Altesse pour demander a Dieu la conservation de ce prince dans la campagne quil va faire contre les ennemis de l'etat. Le 27 avril 1744. Paris, chez Tardieu, 1744. Fine engraving and etching, by Nicolas Henri Tardieu after a design by Noël Hallé; signed Hallé inv., N. Tardieu sculp.; with 4 lines of engraved text underneath (see above). 30,7 x 21,7 cm. (# 5827)

Willk-Brocard, Les Hallé, 478-479 No. 295, with illustration. Estournet, Hallé, 157 No. 156. Portalis et Béraldi III, 583 No. 9. Only state. Beautiful full-length portraits of Louis Philippe I d'Orléans (1725-1785) "le Gros" (the Fat) and a group of his companions receiving a blessing with holy water from the parish priest Jean Baptiste Thomas du Taillis, who is standing with a group of clergymen in front of the church N. Dame in Gournay at the Marne. Louis Philippe I d'Orléans was serving with the French armies and distinguished himself in the War of the Austrian Succession, the war between France and England. The French painter Noël Hallé made the design especially for this political French broadsheet. The French engraver/etcher Nicolas Henri Tardieu (1674-1749), was also print publisher. "Louis XV déclare la guerre à l'Angleterre et à l'Autriche le 15 mars 1744 et fait envahir les Pays-Bas. Le 27 avril, le duc de Chartres passe par Gournay, sur les bords de la Marne ... Ce dessin (par Hallé) destiné à la gravure est la première oeuvre à son retour en France en 1744" (Willk-Brocard). - Ample margins, very well preserved on strong paper. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Halm, Peter (Mainz 1854-München 1923). München. Nymphenburger Kanal, im Hintergrund das Nymphenburger Schloss. München, c. 1900. Nice etching: view of the Nymphenburg canal with a bridge, on both sides big trees, in the background Nymphenburg palace, signed in the plate "P. Halm". 25,7 x 34,2 cm (plate mark). (# 5842)

Peter Halm studied and was professor at the Akademie der Bildenden Künste in München. He etched most of his plates directly from nature. See on him Thieme-Becker XV, 526-527; Vollmer VI, 14. Nymphenburg palace in München was the main summer residence of the rulers of Bavaria/Bayern; its large park is bisected by a long canal. - A few light brown spots in the large blank margins. Good impression.

Hartmann, Albert (Michelstadt 1868 - 1928). Silvester 02. Germany, 1901. Charming etched New Year's card on Chine collé, showing a girl with a basket and apples in her hands standing next to the apple tree, a village (Michelstadt?) in the back-ground, signed in the plate A. Hartmann Silvester 02, on verso in contemporary pencil, A. Hartmann - Michelstadt. Ca. 19,1 x 7,6 cm. (# 5804)

Thieme-Becker XVI, 75-76. Albert Hartmann, painter and etcher, born in Michelstadt in Odenwald, studied and worked in München, later in Franckfurt a.M, and was from 1901 Prof. at the Techn. Hochschule in Darmstadt. - Pasted as issued on the original cardboard leaf. Light stain to the cardboard, not affecting etching.

(Hauer, Johann Thomas (Jean)). Inventions nouveaux de differents vases, gaines, colonnes, supportes à console pour bustes, figures. Paris, (J.F.) Hauer, (no date, 1781). Complete series of 4 engraved plates, numbered in the plates, nos. 1-4, showing fountains, vases on pedestals, funeral urns. ca. 16 x 22,7 cm on leaves of ca. 19,3 x 25,3 cm. (# 4428)

Kat. Orn. Berl. No. 189. Döry, Kat. Orn. Hamburg 1960, 99. First edition of this series of ornament prints designed for architects and artisans. Invented and engraved by Johann Thomas (Jean) Hauer (Sommerein in Hungary 1748 - Augsburg 1820), who lived and worked in Paris and Augsburg. - Occasionally very lightly foxed, blank right outer margin of 3 leaves little frayed.

(Hauer, Johann Thomas (Jean)). Inventions nouveaux de differents vases, gaines, colonnes, supportes à console pour bustes, figures. Paris, (J.F.) Hauer, (no date, 1781). Complete series of 4 engraved plates, numbered in the plates, nos. 1-4, showing fountains, vases on pedestals, funeral urns. ca. 16 x 22,7 cm on leaves of ca. 22,3 x 30,2 cm. The plates display string holes in the centre of the left margin and are sewn together with original string, as issued. (# 4431)

Kat. Orn. Berl. No. 189. Döry, Kat. Orn. Hamburg 1960, 99. First edition of this series of ornament prints designed for architects and artisans. Invented and engraved by Johann Thomas (Jean) Hauer (Sommerein in Hungary 1748 - Augsburg 1820), who lived and worked in Paris and Augsburg. - Occasionally very lightly foxed. Nice copy with ample margins, preserved in the original sewn state.

Hauer, Johann Thomas (Jean). VI. Cahier des menuisiers. Desseins a l'usages des artistes en architecture en general et pour faire d'autels, d'autellets et autres choses specialement. Paris, (J.F.) Hauer, (ca. 1781). Complete cahier VI comprising 4 fine engraved plates, numbered in the plates, with plate numbers nos. E.21-24, showing altars and retables. ca. 20,2 x 15,5 cm on leaves of 23,5 x 18 cm. (# 4432)

Kat. Orn. Berl. No. 189. Döry, Kat. Orn. Hamburg 1960, 99. First edition of these interesting architectural designs for carpenters. The elaborate ornament designs for altars and retables contain large columns, vases, etc. The present 6th cahier is complete. Kat. Orn. Berl. mentions cahiers Nos. V-IX. Invented and engraved by Johann Thomas Hauer (Sommerein in Hungary 1748 - Augsburg 1820), sculptor and engraver, who lived and worked in Paris and Augsburg. - Slightly foxed and thumbed. Blank inner-margin of 2 plates strenghthened.

Herzinger, Anton (Fallbach 1763-Wien? 1826). Verschiedene Thiere, gezeichnet von Heinrich Roos und geätzt von Anton Herzinger. Wien, F.X. Stöckl, (c. 1800). Series of 8 oblong etchings, including title-leaf, depicting cows, sheep and goats, at bottom signed in the plates. All 8 framed under glass in 20th century mahogany frames with green passe-partouts: 24,5-27,5 x 29,3-33 cm. (# 5890)

This work not in Nagler and Thieme-Becker. The Austrian painter and printmaker Anton Herzinger/Hertzinger, worked several years in Prague and was active again in Vienna from 1809. The painter and etcher Johann Heinrich Roos (Otterberg/Pfalz 1631-Frankfurt a.M. 1685), trained in Amsterdam 1647; 1650-54 in Italy; moved to Frankfurt a.M; 1664 court painter under Karl Ludwig from the palatinate. The Austrian print publisher F.X. Stöckl (flourished 1763-1815) worked in Vienna.

Hierosolyma, Jerusalem. Aug. Vind. (Augsburg), Johann Christian Leopold, (1731). Finely engraved bird's eye-view of Jerusalem; banderole in the sky above the view with Latin and German title, flanked by 2 putti, one each on the left and right hand side, each holding a scroll with a key to various buildings in the view numbered 1-24 in German. Underneath a geographical and historical description of the Holy City in Latin and German, with Jerusalem's coat of arms in the centre. 20 x 29 cm. (# 5729)

A. Marsch, in: Augsburg, die Bilderfabrik Europas, 142, Jerusalem, No. 1. Rare first state (of 2), with N°.61 in lower left-hand corner and with the lower right corner blank. This first state was not found in any library consulted by Marsch, and she only found a copy in the trade. The database "Ancient Maps of Jerusalem" of The Jewish National and University Library & The Hebrew University of Jerusalem (The Eran Laor Cartographic Collection) lists only the 2nd state with I2 in the lower right corner, which was printed after 1741. Marsch (134) explains that this first state was issued as a seperate and independent work; while the second state was issued in a bound book as part of over 200 other views and a title-page. This view depicts the city realistically, with 24 numbers above important buildings, and was probably inspired by Merian (1645). In the foreground are Turcs, Jews and Christians, some on horse-back or camel, some obviously pilgrims. The publisher Johann Christian Leopold lived from 1699 - 1755; the privilege for this view was granted in 1731. Seperately produced broadsheets, such as this, had a much lower chance of survival, and if they did survive, of being in good condition, since they did not have the protection of being between covers or surrounding sheets. - Well preserved, with ample margins.

Hoermann von und zu Guttenberg, Christoph Friedrich (18th century). Standing man looking to the left, with knapsack, basket and staff. (Germany, probably Augsburg), 23 Mai 1734. Engraving, at right below image signed in the plate, "CFH fec", probably after Abraham Bloemaert. 18,2 x 10,7 cm. (# 2238)

Not in Nagler Monogrammisten. Not much is known about Hoermann von Guttenberg, according to Thieme-Becker XVII, 219, he was probably born in Kaufbeuren (Schwaben) and was active as a painter and engraver in Augsburg (two dated engravings Augsburg 1746 and 1755 are known) and ca. 1760 in Ulm. He was the son-in-law of the publisher M. Engelbrecht. - Some brown spots; bright impression with ample margins. As not much is known about the engraver, the contemporary handwritten date: "23 Maij 1734" and the name "Hörman" in the blank lower margin of our print provide very interesting additional biographical information.

Hogenberg. Battle of Dreuse by "der Marschalk von S. Andreas". Cologne, ca. 1565. Fine engraving showing the battle of Dreuse on 19 Decemb. 1562. Depicted are Marshal S. Andreas, cavalry, infantry, rows of cannons; on the right lower side part of the village Maumucet together with a windmill is depicted and on the left upper side the town Bleinville. With plate number 17. Engraved German sub-title underneath. ca 21 x 27,5 cm (platemark). (# 5397)

Hellwig, Hogenberg, 36. The battle of Dreux was the first general engagement in the first religious civil war in France between the Catholics and Protestants. From the series of Geschichtsblätter which were published by Fr. and Abr. Hogenberg from ca. 1559 - ca. 1597. - The German sub-title is partly pasted over with a strip of paper containing a French sub-title in contemporary handwriting. Very lightly browned. Thread margins.

Hondius, H., the Elder (Duffel 1573 - Den Haag 1650). Augustinus Marloratus. ca. 1610. Very fine engraved portrait. 165 x 121 mm. (# 5455)

The New Hollstein, Hondius, No. 190. Not in Wurzbach. 2nd state (of 2). Fine imprint on laid paper. With signature H fe(cit) in right upper corner. With engraved name in lower margin "Augustinus Marloratus" and four lines Latin text underneath: "Huic Augustino regnabat pectore candor, Huic uni caelum cura laborque fuit. Ex monarcho factus, purus sanctusque minister Divini verbi: martij amore Dei". In margin right: "cum privill." Hendrik Hondius first lived in Mechelen, Antwerpen and Brussel, for a short period in Amsterdam and Leiden, but mostly in Den Haag. The French Reformer Augustin Marlorat (Bar le Duc 1506 - Rouen 1562), minister at Rouen and the author of several theological books, became a Protestant martyr. He worked some time in Geneva and Lausanne (see: Haag, La France Protestante VII, 256-259). - Tear in background, not touching portrait. With margins, top margin trimmed within the borderline.

Isselburg, Peter (Köln 1568-Bamberg/Nürnberg 1630) Salvator mundi, after Peter Paul Rubens. c. 1628. Engraving of Christ with cross, lettering in upper margin "Salvator mundi", 6 engraved lines of Latin text in bottom margin "Vulneribus Christi sanantur vulnera mundi... Johanni Georgio Episcopo Bambergensi... hasce sacras imagines a P.P. Rubens depictas... consecrat Petrus Isselburg Coloniensis". 28,3 x 20,5 cm. (# 5833)

Le Blanc II, 414 No. 15. Cf. Hollstein, German XVA, 137, No. 14 (describes only a later state). First state (of 2). First leaf/title leaf of "Christus und die Apostel" a series of 14 leaves (Hollstein Nos. 14-27, Le Blanc Nos. 15-28), depicting Christ and the Apostles. Dedicated to Johann Georg II Fuchs von Dornheim, who was bishop in Bamberg from 1623-1633. The engraver and publisher Peter Isselburg, born in Köln, worked 1610-1622 in Nürnberg, 1623-1625 in Bamberg, 1626 in Coburg, back to Nürnberg in 1630. - Two tears repaired, with slight loss; slightly browned, thread margins.

Jacoby, Louis (Havelberg 1828-Berlin 1918). Adoration of the Christ Child, after Fra Filippo Lippi (Florence c. 1406-Spoleto c. 1469). Fine engraving and etching on Chine collé, depicting a kneeling Madonna adoring the Christ Child, who lies on the ground of a wooded landscape. God and the Holy Spirit appear above. To the left a penitential Saint Bernard and a young Saint John the Baptist. Lettered in left lower corner "Frater Philippus P". Below image in pencil "L. Jacoby". 33,6 x 29,8 cm (plate-mark). (# 5911)

Thieme-Becker XVIII, 260: "Für das Kupferstichwerk der kgl. Gemäldegal. mit dessen Leitung er beauftragt wurde". Jacoby worked 20 years in Wien and from 1882 in Berlin. The original painting was made 1459 to hang above the altar in the chapel of the Medici Palace in Florence, where a studio copy (c. 1470) currently hangs. The original is at the Staatliche Museen zu Berlin, Gemäldegalerie. - Large margins.

Jungwierth, Franz Xaver (1720-München-1790). Himmelfahrt Mariä (Assumption of Mary), after Johann Nepomuk von Schöpf/Schoepf. München, c. 1750-1755. Very large engraving of the Assumption of the Virgin; below figures around the tomb, above the Virgin among clouds, surrounded by angels. Dedicatee's arms in centre of bottom margin, with 5 lines of engraved Latin text "Reverendissimo ... Domino Dno. Coelestino II ... Monasterii ad D. Gallum Abbati ... Ioan. Nep. de Schöpf inventor et Pictor. Jungwierth Sc. Monachij". 46,3 x 23,7 cm. (# 5869)

Nagler XVII, 483. Thieme-Becker XXX, 235. Not in Le Blanc. Rather rare. Johann Nepomuk Schoepf was born c. 1735 in Prag, became 1765 Kurfürstlicher Hofmaler in München and 1770 member of the Münchner Akademie, he died after 1785. c. 1750-1755 he painted for the High Altar of the Church in Fürstenfeld-Bruck in Oberbayern/Bavaria: the Assumption of Mary; after which Franz Xaver Jungwierth/Jungwirth made the present engraving. - Trimmed to plate-mark; some small tears, all but one neatly repaired.

Kiepert, H. Übersichtskarte der Verbreitung der Deutschen in Europa. Für den deutschen Schulverein zusammengestellt von H. Kiepert. Massstab in 1:3.000.000 von deutschen geograph. Meilen. Berlin, L. Kraatz for Dietrich Reimer, 1887. Large oblong folded lithographed school map of Germany and its colonies, coloured by hand. 55,2 x 75,8 cm. (# 5874)

Extending west to east from England and France to Russia, Bulgaria and the Black Sea; and north to south from Sweden, Denmark, Estonia to Italy, Bosnia, and Bulgaria. With inset maps of Estonia, Latvia, and Russia, Caucasus with Georgia. Heinrich Kiepert (1818-1899) was a prolific cartographer and geographer from Berlin. - Pasted on verso back-cover leaf of "Verlag von Dietrich Reimer in Berlin" with list of other maps published by Kiepert; tiny tears in blank part of 2 folds, with ample margins.

Kirchner, Albert Emil (Leipzig 1813-München 1885). Abend-Landschaft. Paysage au soleil couchant. München, H. Kohler, 1839. Large oblong lithograph with a yellow tone plate, of a landscape with river, in front a woman with child, to the left ruins of a castle, in the background a village on a hill and mountains. Signed in the plate "AEK 1839", lettered underneath with title in German and French (see above) and "Comp. u. auf Stein gez. v. Emil Kirchner" and "Zu finden bei H. Kohler et Comp. in München". 25,3 x 37 cm. (# 5912)

Thieme-Becker XX, 358: "Für Kohler's Münchener Album lithographierte er eine Abendlandschaft". Nagler, Monogrammisten No. 1504. Original lithograph, state before the address of Piloty and Löhle. - Large margins.

Klauber, Ignaz (Augsburg 1754-S.Petersburg 1817). Christian-Gabriel Allegrain. After Joseph Siffred Duplessis. Paris, 1787. Fine large engraved knee-length portrait of the sculptor Christian Gabriel Allegrain, turned, seated in front of one of his sculptures, holding a chisel. Lettered with sitter's name and signed in the plate underneath "Peint par Duplessis pour sa réception, 1774. Et gravé par I.S. Klauber pour sa réception à l'Académie de Paris 1787." 39,5 x 29,5 cm (plate-mark). (# 5849)

I.F.F. XII, 346, No. 4. Le Blanc II, 458, No. 29. Nagler VII, 476, No. 1. In database British Museum. First state (of 2), before lettering with sitter's title. Fine artist's portrait/portrait d'artiste, also Klauber's Reception Piece/Morceau de Réception for his admission to the Académie de Peinture et de Sculpture in Paris. The engraver Ignaz Sebastian Klauber, was admitted to the Paris Académie in 1787 with this engraved portrait of the Royal sculptor and rector of the Académie Christian-Gabriel Allegrain (Paris 1710-Paris 1795); after a painting by Joseph Siffred Duplessis (Carpentras 1725-Versailles 1802), painted in 1774 for his admission to the Académie. Klauber was born in Augsburg, settled in Paris from 1781 to 1790, left during the Revolution for Nürnberg and moved to St. Petersburg by 1798, where he remained the rest of his life. - Sharp imprint on heavy paper, with very large margins. Paper slightly foxed.

Krauskopf, Wilhelm (Zerbst 1847-Ilmenau 1921). Wilde Jagd (the wild hunt), after Rudolf Friedrich August Henneberg. c. 1890. Fine etching on chine-collé, showing a wild hunting scene with numerous hunters on horseback, dogs, a deer, signed in pencil underneath "W. Krauskopf". 16,9 x 32,5 cm. (# 5835)

Wilhelm Krauskopf, professor, engraver and etcher, lived in München in the ninetees of the 19th century (see: Thieme-Becker XXI, 470). Rudolf Henneberg (Braunschweig 1825-Braunschweig 1876) painted several paintings of horsemen and huntsmen. His painting "Wilde Jagd" is in the Schack-Galerie in München. - With pencil presentation inscription by Krauskopf "Herrn Prof. Defregger in grosser Verehrung". With very large margins.

Küsel, Melchior (1626-Augsburg-1683). Praterjagd anlässlich der Hochzeit Kaiser Leopold I. und der Infantin Margarita Teresa von Spanien. Hunting party in Vienna/Wien on the occasion of the marriage of Emperor Leopold I to Margarita Teresa of Spain. 1666-1667. Oblong etching of dogs hunting boars; view of the Prater with a tribune at centre for the imperial guests; onlookers, some with horses, forming a circle around the animals; at bottom signed in the plate "Melchior Kusell f." 25 x 34,4 cm. (# 5878)

Hollstein, German, XX, 77 No. 190. In database British Museum. One of a series of six plates with "Lustjagden", hunting parties organised at the Prater in Vienna/Wien on the occasion of Leopold I's marriage to Margarita Teresa of Spain, 5 december 1666. Melchior Küsel/Küsell, engraver and publisher, flourished in Augsburg, Wien and München; he married Maria Sibylla Merian. - Trimmed within plate-mark and mounted of old. Light waterstains, brown spots.

Le Roux, Jean-Baptiste. (Divers desseins de cheminées de la composition du Sieur le Roux architecte). Paris, J(ean) Mariette, (no date). Complete series of 6 fine engraved plates, numbered in the plates, 1-6, showing chimney-pieces. ca. 26,9 x 17 cm on leaves of ca. 32,3 x 20,7 cm. (# 4456)

Kat. Orn. Berl. No. 3800. First edition, before title and publisher's number. Rare. Fine designs for chimney-pieces, invented by the French architect Jean-Baptiste Le Roux (Paris ca. 1676 - 1746). He built and decorated the interior of many famous 'Hôtels' (grand mansions) in Paris. His early compositions belong to the Louis XIV style, his later work to the Louis XV 'Régence' style. The fireplace was one of the most important decorative elements of a room, thus receiving an elaborate ornamentation. The book and print publisher and book- and printseller Jean Mariette lived in Paris from 1660 until 1742. - Several small dampstains, lightly browned.

Leclerc, Jean (IV). Listoire de Hester (L'histoire d'Esther). (Paris, c. 1600). Complete suite of 4 numbered engravings, illustrating the story of Queen Esther and Haman, the first signed "I. le Clerc excudit". Each representation is surrounded by an ornamental border containing the French title of the complete series on first plate and the French titles of each seperate plate. Below each plate are 2 lines of Latin text engraved in the plate. Ca. 13 x 17 cm. Oblong 4to. Bound together in 20-century decorated boards. (# 1267)

I.F.F. VII, 432 Nos. 10-13. Rare only state. Fine suite by Jean Leclerc IV (1560-1621/1622) , illustrating the famous biblical story told on the Jewish holiday Purim. Jean Leclerc IV was the most important member of this family of engravers and print-publishers. He was active in Paris, except between 1590-1594 when he most likely fled with his family to Tours. 1. In top the title of the series: "Listoire de Hester"; in the lower border the title of the plate: "Hester, choisie pour Royne"; underneath "Sola placet regi multis e millibus Hester. Hinc regale decus suscipit in capite Hester. cap.2. I. le clerc excudit". 2. In top title of the plate: "Aman est en credit vers le Roy"; underneath "Exaltatur Aman Iudaeis pestifer hostis. Annulus et digito regius ecce datur. Hester cap. 3". 3. In top title of the plate: "'Hester prosternee auy (sic) pieds du Roy"; underneath "Pectore sollicito sed non tristo omne regem. Conveniens Ester fercula ad alma vocat. Hester cap. 5 ". 4. In top title of the plate "Aman acuse par Hester est pandu"; underneath: "Accusatur Haman, reginaque crimina pandit. iairidae structum sustinuitque crucem. Ester. cap. 7". - Ample margins, tear in two leaves skilfully repaired.

Leclerc, Jean (IV). Listoire de Iudic (L'histoire de Judith). (Paris, ca. 1600). Complete suite of 4 numbered engravings illustrating the story of Judith and Holofernus, the first signed "I. le Clerc ex.". Each representation is surrounded by an ornamental border containing the French title of the complete series on first plate and the French titles of each seperate plate. Below each plate are one or two lines of Latin text engraved in the plate. Ca. 13 x 17 cm. Oblong 4to. Bound together in 20-century decorated boards. (# 920)

Not in I.F.F. Fine suite by Jean Leclerc IV (1560-1621/1622), the most important member of this family of engravers and print-publishers. He was active in Paris, except between 1590-1594 when he most likely fled with his family to Tours. 1. In top the title of the series: "Listoire de Iudic"; in the lower border "Holofernes envoyé contre les Iuifs"; underneath: "Instructis copys populos orientis adire. Mandat Holofernus rex Nabugodonosor". 2. In top title of the plate: "Iudic devant Holofernes"; underneath: "Cum socia per castra duce petit ecce Juditha auribus et regis plurima verba dedit". 3. In top title of the plate "La mort d'Holofernes"; underneath "Hic in conclavicum solo sola relicta funereo sternit ebria membra thoro". 4. In top title of the plate "La fuitte des Assiriens"; underneath "Assiry fugiunt audita morte Holofernis pectora torpebat exanimata metu". - Ample margins, tear in blank margin of last leaf skilfully repaired.

Lepautre, Jean. Altars with elevation and plan. (Paris), (Jean I) Leblond, (no date, before 1666). Complete untitled series of 6 fine etched plates. ca. 21,5 x 13,6 cm on leaves of ca. 28,5 x 20,8 cm. (# 4439)

I.F.F. XVII, 12, Nos. 2003 - 2008. Fuhring Nos. 9502 - 9504 (only 3 plates). First edition of this series of elaborate baroque designs for altars and retables, etched in the first manner of Lepautre. Two of the altars are in the shape of a triumphal arch; one altar is placed under a baldachin supported by four twisted Corinthian columns, set on a landing, accessed via a horseshoe-shaped stairway; richly decorated with paintings, vases, garlands, statues. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). - Piece of somewhat soiled blank paper pasted on top of blank margin of all leaves; occasionally blank margins very lightly thumbed. Ample margins.

Lepautre, Jean. Altars with elevation and plan. (Paris), (Jean I) Leblond, (no date, before 1666). Complete untitled series of 6 fine etched plates. ca. 21,5 x 13,6 cm on leaves of ca. 29,5 x 18,6 cm. (# 4438)

Fuhring Nos. 9502 - 9504 (only 3 plates). I.F.F. XVII, 12, Nos. 2003 - 2008. First edition of this series of elaborate baroque designs for altars and retables, etched in the first manner of Lepautre. Two of the altars are in the shape of a triumphal arch; one altar is placed under a baldachin supported by four twisted Corinthian columns, set on a landing, accessed via a horseshoe-shaped stairway; richly decorated with paintings, vases, garlands, statues. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). The print publisher Jean I Leblond lived in Paris from ca. 1590/94 until 1666. - Occasionally blank margins very lightly thumbed. A nice set with ample margins.

Lepautre, Jean. Authels et retables gravé de nouveau par I. le Pautre. Paris, P(ierre II) Mariette, (no date, ca. 1666 - 1693). Complete series of fine etched title and 11 plates, numbered in the plates, 1-12, showing altars and tabernacles. ca. 20 x 14 cm on leaves of ca. 30,7 x 20,3 cm. (# 4475)

Fuhring Nos. 9515 - 9525 (Amsterdam copy lacks title plate). I.F.F. XVII, 12, 2009 - 2020. Cf. Kat. Orn. Berlin No. 313, II, No. 72 (only later, 4th edition). Second edition of this beautiful architectural baroque designs for altars and tabernacles. Tabernacles, which are places to store the chalice and host, are mostly in the shape of a small building, placed on the altars. The very rich ornamentation contains designs for paintings of the Ascension of the Virgin, the Adoration of the Kings with the coat of arms of France on either side, a statue of the Virgin and Christ Child, paintings of the Lamentation of Christ, the Crucifixion and Mary Magdalen, the Holy Family and the infant St. John. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). - Very ample margins, margins of title-leaf a bit smaller but still large. The plates display original string holes in the left margin. Contemporary handwritten numbers in brown ink in blank upper right corner; occasionally foxed or stained, mainly in blank margins.

Lepautre, Jean. Cathedrarum exempla, in usum artificum studiose collecta. (Amsterdam), P(ieter) Schenck, (no date, ca. 1670 - 1690). Fine etched title and 3 plates, with plate numbers, 1-4 (of a series of 6), showing baroque designs for pulpits with preacher and worshippers, each plate with a one line engraved subscription. ca. 22,8 x 15,9 cm. on leaves of ca. 31,7 x 19,6 cm. (# 5552)

Thieme-Becker XXX, 29. Suite with series number N°. 30. Cf. for an edition without series number: Fuhring Nos. 9464 - 9468 (only 5 plates). Rare Dutch copies in reverse of plates in two series by Jean Lepautre, 'Chaires de Predicateurs' (Paris, 1659) and a series without title (Paris, no date), published by Pieter Schenck. Invented by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). Pieter (Petrus) Schenck (Elberfeld 1660/61 - Amsterdam 1718/19) was a famous Dutch engraver and print publisher. - Slightly thumbed and lightly browned; small brown stain in blank margin of 2 plates.

Lepautre, Jean. Cheminées a l'Italienne nouvellement inventées et et (sic) gravées par I. Le Pautre. Paris, Pierre (II) Mariette, (no date, ca. 1658 - 1670). Complete series of very beautiful etched title and 5 plates, with plate numbers, 1-6, showing designs for chimney-pieces, with scales of measurements. ca. 21,8 x 14,8 cm on leaves of ca. 29 x 18,5 cm. (# 4420)

Fuhring Nos. 9346 - 9351. I.F.F. XVII, 12, Nos. 1476 - 1481. Destailleur (1863), 93. BAL, 2, No. 1839. Cf. Kat. Orn. Berlin No. 313, II, No. 50 (only 2nd edition). First edition of this very beautiful series of elaborate baroque designs for chimney-pieces in the manner of the Italians, invented and etched by the famous architect and ornament designer Jean Lepautre (Paris 1618 - 1682). The fireplace was one of the most important decorative elements of a room, thus receiving an elaborate ornamentation. Contains a chimney-piece flanked by large foliage consoles with garlands of fruit and crowned with a portrait medallion of an emperor supported by a putto and set between two sphinxes; chimney-piece crowned with a statue of Victory with an armorial trophy on either side, the hearth-plate is supported by two atlantes; chimney-piece, the overmantel is decorated with the Abduction of Proserpina in a medallion, with a putto seated on a lion on either side; chimney-piece surmounted by the bust of a woman being crowned by two cupids; chimney-piece set between two fluted Corinthian pilasters, above which is a niche with a vase; chimney-piece with a chimney-hood closed off by two shutters, crowned with the bust of an emperor. - Tiny erasure to plate 4, otherwise well preserved; bright impressions with ample margins.

Lepautre, Jean. Cheminees a l'Italienne. Nouvellement inventéés et gravées par I. le Pautre. Paris, (Gérard I), Jollain, 1665. Complete suite of fine etched title and 5 plates, numbered in the plates, 1-6, showing designs for chimney-pieces; five of the plates WITH A VARIANT DESIGN FOR THE RIGHT HALF. ca. 21,4 x 14,2 cm on leaves of ca. 30,7 x 20,5 cm. (# 4435)

Fuhring No. 9352 (only one plate). I.F.F. XVII, 12, Nos. 1482 - 1487. First edition of a fine series of elaborate baroque designs for chimney-pieces in the manner of the Italiens. Among the incorporated statues is interalia one depicting Minerva. The fireplace was one of the most important decorative elements of a room, thus receiving an elaborate ornamentation. Invented and etched by the famous French architect and ornament designer Jean Le Pautre (Paris 1618 - 1682). - The plates display the original string holes in the blank left border. Printing date erroneously altered by hand in 1677. Slightly foxed, lower blank margins slightly thumbed, ample margins.

Lepautre, Jean. Clostures de Chappelles tant de menuiserie que serrurerie mis de nouveau en lumiere par Jean Le Pautre. Paris, N. Langlois, 1659 (but after 1659). Complete series of fine etched title and 5 plates, with plate numbers, 1-6, showing designs for chapel screens in wood and wrought iron work. ca. 15 x 21,9 cm on leaves of ca. 19,5 x 29,5 cm. (# 4422)

Fuhring Nos. 2286 - 2291. I.F.F. XVII, 12, Nos. 2080 - 2085. Cf. Kat. Orn. Berl. No. 313, II, No. 67 (only 5th edition). Second edition, date of the 1st edition not removed. Very fine suite of very elaborate baroque designs for chapel screens with doors, made of carved wood and wrought iron. Decorated with the arms of France, paintings of the Holy Family, the Flight into Egypt, the Adoration of the Shepherds, the Annunciation, statues, caryatids, vases. On three plates numerous figures, men and women, are depicted, giving interesting information on the French fashion of the period. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). - A few, mainly marginal, very light brown spots. A nice set.

Lepautre, Jean. Lambris a la Romaine inventez par I. Le Pautre. Paris, Pierre (II) Mariette, 1661. Complete series of beautiful etched title and 5 plates, numbered in the plates, 1-6, showing wall decorations in the manner of the Romans, with scale of measurements in French feet. The first three plates vertical format ca. 22,5 x 15,5 cm on leaves of ca. 30,5 x 20,5 cm. The last three plates horizontal format ca. 15 x 22 cm on leaves of ca. 17,6 x 25 cm. (# 4436)

Fuhring Nos. 8810 - 8815. I.F.F. XVII, 12, Nos. 1783 - 1788. Third edition of these very elaborate and beautiful baroque designs for panelling inspired by the classical Roman style. These wall coverings were intended as decoration of walls of rooms, galleries, and other formal interiors. Incorporated in the wall decorations are a statue of Victory, a painting of Aeneas carrying Anchises on his back, a door of a gallery above which is a figure of Victory seated on an armorial trophy, a statue of Apollo as a hunter, a bust of an emperor, an open door with a view of various people, one of whom is sweeping up. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). - Lower blank margins slightly thumbed. A nice set.

Lepautre, Jean. Les lanbris (sic). I. Le Potre invent et fecit. (Paris), (Jean I) Le Blond, Rue Sainct Denis, (no date, ca. 1650 - 1664). Complete series of beautiful etched title and 5 plates, with plate numbers, 1-6, showing ceiling and some wall ornaments. ca. 22 x 15 cm on leaves of ca. 27 x 18,5 cm. (# 4418)

I.F.F. XVII, 12, Nos. 1789 - 1794. Not in Fuhring. Cf. Fuhring (Nos. 8540 - 8545, note). Second edition of these magnificent elaborate designs in baroque style for ceiling decorations. The title-page shows a crowning part of an entrance portal and below part of a cornice; the other plates with variants for the right half, show cartouches with a mask, river god, triton, sphinx, centaur, a crowning element of a choir screen. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). The print publisher Jean I Leblond worked at the Rue St. Denis from 1650 until 1664. - Very slightly thumbed, very lightly browned. Contemporary handwritten numbers in ink in blank margins.

Lepautre, Jean. Nouveaux desseins de plafons inventz (sic) et gravez par J. le Potre. Paris, J(ean) Mariette, (no date). Complete suite of fine etched title and 5 plates showing designs for ceilings. ca. 14,5 x 21,2 cm. (# 4407)

I.F.F. XVII, 12, Nos. 1874 - 1879. Not in Fuhring. Second edition of these beautiful baroque designs for sculpted and painted ceilings, invented and etched by the famous French ornament designer Jean Lepautre (Paris 1618 - 1682). The print publisher and printseller Jean Mariette lived in Paris from 1660 until 1742. - Small blank margins, 3 ink-stains to one plate.

Lepautre, Jean. Nouveaux dessins d'autèles a la Romaine. Inventez et gravez par Jean Le Potre. Paris, Pierre (II) Mariette, (no date, ca. 1658 - 1670). Complete series of magnificent etched title and 5 plates, numbered in the plates, 1-6, showing altar designs in the manner of the Romans. ca. 22,3 x 15,2 cm on leaves of ca. 31,5 x 20,8 cm. (# 4433)

Fuhring Nos. 9511 - 9513 (only 3 plates). I.F.F. XVII, 12, Nos. 2021 - 2026. Cf. Kat. Orn. Berlin No. 313, II, No. 71 (only third edition). First edition of this beautiful baroque suite of very elaborate architectural designs in Roman style, for altars, which are adorned with pillars, statues, vases, paintings, 2 of them with ground-plan. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). - Lower margins very lightly thumbed; the plates display original string holes in the upper margin; a nice set with ample margins.

Lepautre, Jean. Nouveaux dessins d'autèles a la Romaine. Inventez et gravez par Jean Le Potre. Paris, Pierre (II) Mariette, (no date, ca. 1658 - 1670). Complete series of magnificent etched title and 5 plates, numbered in the plates, 1-6, showing altar designs in the manner of the Romans. ca. 22,3 x 15,2 cm on leaves of ca. 27,3 x 19,1 cm. (# 4440)

I.F.F. XVII, 12, Nos. 2021 - 2026. Fuhring Nos. 9511 - 9513 (only 3 plates). Cf. Kat. Orn. Berlin No. 313, II, No. 71 (only third edition). First edition of this beautiful baroque suite of very elaborate architectural designs in Roman style, for altars, which are adorned with pillars, statues, vases, paintings, 2 of them with ground-plan. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). - Waterstain to lower half of plates, two plates sticking together; thumbed and foxed.

Lepautre, Jean. Placarts ou ornemens po(ur) l'enrichemem. des chambres et alcoves. In. et gravées par I. le Potre architecte. Paris, Pierre II Mariette, (no date, after 1657). Complete series of beautiful engraved title and 5 plates, numbered in the plates, 1-6, showing ornamental panels and doors for rooms and alcoves. ca. 20,7 x 14,4 cm on leaves of ca. 30,6 x 20,4 cm. (# 4437)

I.F.F. XVII, 12, Nos. 1777 - 1782. Cf. Kat. Orn. Berlin No. 313, I, No. 30 (only later edition). Not in Fuhring. Second edition (first edition Paris, ca. 1556 - 1557) of these magnificent series of baroque designs for very richly decorated doors and portals for rooms and alcoves, some with elevation and plan with scale of measurements. The title shows a richly decorated door with a cornice, on either side wainscotting with armorial trophies and fettered slaves; the second plate shows a door with an arch on either side, before which a woman stands on a balustrade and with a trompe-l'oeil panel with trees and buildings; further a door with a painting depicting figures on a terrace against a landscape, a double door, a door opening with a view of a second door opening, decorated with foliage garlands, vases, Corinthian columns, etc. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). The publisher Pierre II Mariette was born in Paris in 1634, where he died in 1716. - The plates display the original string holes in the left margin. Very slightly foxed, good copies with ample margins.

Lepautre, Jean. Plafons a la Romaine. Nouvellement inventez et gravez par Jean le Pautre. Paris, (Gérard I) Jollain, 1665. Complete suite of fine etched title and 5 plates with plate numbers, 1-6, showing ceiling designs in the classical manner, with a variant for the right half; between the two variants is a scale of measurements in French feet. ca. 14,5 x 21,3 cm on leaves of ca. 20,4 x 29 cm. (Stitching loose). (# 4409)

I.F.F. XVII, 12, Nos. 1868 - 1873. Cf. Fuhring (Nos. 8856 - 8861, note: first edition before numbers). Second edition with plate numbers, published in the same year at the same publisher as the first edition. Beautiful baroque designs for sculpted and painted ceilings in Roman style, invented and etched by the famous French ornament designer and architect Jean Lepautre (Paris 1618 - 1682). Depicted are ceilings with round or rectangular middle sections, some with cloudy skies, containing interalia an eagle, armorial trophies, a chained prisoner, garlands of fruit and leaves, religious scenes, a medallion with an emperor's bust. - Blank corner of one plate torn off, else well preserved, with ample margins.

Lepautre, Jean. Plafons a la Romaine. Nouvellement inventez et gravez par Jean le Pautre. Paris, (Gérard I) Jollain, 1665. Complete suite of fine etched title and 5 plates with plate numbers, 1-6, showing ceiling designs in the classical manner, with a variant for the right half; between the two variants is a scale of measurements in French feet. ca. 14,5 x 21,3 cm on leaves of ca. 19,8 x 29,5 cm. (# 4416)

I.F.F. XVII, 12, Nos. 1868 - 1873. Cf. Fuhring (Nos. 8856 - 8861, note: first edition before numbers). Second edition with plate numbers, published in the same year at the same publisher as the first edition. Beautiful baroque designs for sculpted and painted ceilings in Roman style, invented and etched by the famous French ornament designer and architect Jean Lepautre (Paris 1618 - 1682). Depicted are ceilings with round or rectangular middle sections, some with cloudy skies, containing interalia an eagle, armorial trophies, a chained prisoner, garlands of fruit and leaves, religious scenes, a medallion with an emperor's bust. - Title slightly thumbed, but well preserved, with ample margins.

Lepautre, Jean. Plafons a la Romaine. Nouvellement inventez et gravez par Jean le Pautre. Paris, (Gérard I) Jollain, 1665. Complete suite of fine etched title and 5 plates with plate numbers, 1-6, showing ceiling designs in the classical manner, with a variant for the right half; between the two variants is a scale of measurements in French feet. ca. 14,5 x 21,3 cm on leaves of ca. 20,7 x 30,7 cm. (# 4417)

I.F.F. XVII, 12, Nos. 1868 - 1873. Cf. Fuhring (Nos. 8856 - 8861, note: first edition before numbers). Second edition with plate numbers, published in the same year at the same publisher as the first edition. Beautiful baroque designs for sculpted and painted ceilings in Roman style, invented and etched by the famous French ornament designer and architect Jean Lepautre (Paris 1618 - 1682). Depicted are ceilings with round or rectangular middle sections, some with cloudy skies, containing interalia an eagle, armorial trophies, a chained prisoner, garlands of fruit and leaves, religious scenes, a medallion with an emperor's bust. - Very lightly browned, tiny tear in blank margin of one leaf, tiny ink-spots in blank margin of 2 leaves. A very good set with very large margins.

Lepautre, Jean. Portails d'Eglise à l'Italienne. Nouvellement inventés et gravés par Jean le Pautre. Paris, P.(II) Mariette, (no date, ca. 1670). Complete series of fine etched title and 5 plates, showing church façades in the Italian manner, with scales of measurements. ca. 21,8 à 23,2 cm x 14,9 à 14,7 cm on leaves of ca. 27,4 x 19,4 cm. (# 4414)

I.F.F. XVII, 12, Nos. 2120 - 2125. Not in Fuhring. First edition, before numbers. Beautiful designs for baroque church façades in two storeys, 5 of the plates with a variant of the right half. With attached columns of the Ionic and Corinthian order, adorned with statues, balustrades. 3 plates with domes above the crossing. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). The publisher Pierre II Mariette was born in Paris in 1634, where he died in 1716. - Title browned, slightly foxed. The plates display the original string holes in the left margin.

Lepautre, Jean. Portails d'Eglise à l'Italienne. Nouvellement inventés et gravés par Jean le Pautre. Paris, P.(II) Mariette, (no date, ca. 1670 - 1680). Complete series of fine etched title and five plates, with plate numbers, 1-6, showing church façades in the Italian manner. ca. 21,8 à 23,2 cm x 14,9 à 14,7 cm on leaves of ca. 25,3 x 18,6 cm. (# 4412)

I.F.F. XVII, 12, Nos. 2120 - 2125. Not in Fuhring. Second edition, with plate numbers. Beautiful designs for baroque church façades in two storeys, 5 of the plates with a variant of the right half. With attached columns of the Ionic and Corinthian order, adorned with statues, balustrades. 3 plates with domes above the crossing. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). The publisher Pierre II Mariette was born in Paris in 1634, where he died in 1716. - Very slightly foxed.

Lepautre, Jean. Portails d'Eglise à l'Italienne. Nouvellement inventés et gravés par Jean le Pautre. Paris, P.(II) Mariette, (no date, ca. 1670 - 1680). Complete series of fine etched title and five plates, with plate numbers, 1-6, showing church façades in the Italian manner. ca. 22,1 à 23,5 cm x 15,3 à 14,8 cm. (# 4411)

I.F.F. XVII, 12, Nos. 2120 - 2125. Not in Fuhring. Second edition, with plate numbers. Beautiful designs for baroque church façades in two storeys, 5 of the plates with a variant of the right half. With attached columns of the Ionic and Corinthian order, adorned with statues, balustrades. 3 plates with domes above the crossing. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). The publisher Pierre II Mariette was born in Paris in 1634, where he died in 1716. - Very slightly foxed. Tiny margins.

Lepautre, Jean. Portails d'Eglise à Italienne inventés par J. le Pautre. (No place, no publisher, no date). Complete series of very fine engraved title and 5 plates, showing church façades in the Italian manner, with scales of measurements. ca. 23,3 x 14,7 cm on leaves of ca. 30,5 x 19,4 cm. (# 4470)

Not in Fuhring, I.F.F., or any of the other usual bibliographies (kind information of Dr Peter Fuhring). Unrecorded edition. An unknown engraver copied the plates in reverse from the original series, which was invented and etched by Jean Lepautre (first edition Paris, ca. 1670). In the original series five of the plates are divided into a left-hand and right-hand side, showing variants of the proposed façades. In the present series the façades are symmetric, so left-hand and right-hand side are the same. Also different from the original series is the fact that in our series all the façades are placed against a sky. For the original series compare I.F.F. XVII, 12, Nos. 2120, 2122 - 2125. Beautiful designs for baroque church façades in two stories, adorned with statues, balustrades, 3 plates with domes above the crossing. Invented by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). - Ownership entry on title "Joannij Veit Soc. Jesu". Thieme-Becker XXXIV, 181 mentions the Jesuit Johann Veit (Ellwangen 1663 - München 1732), who worked in Eichstätt, as the designer and maker of the pulpit and confessional chairs in the Jesuit Church in Eichstätt, and the prie-chairs in Neuburg. Mainly marginal waterstain to 4 plates, slightly browned and thumbed.

Lepautre, Jean. Portails d'Eglise a Italienne nouvellement invente par Jean le Pautre. (No place, no publisher, no date). Complete series of very fine etched title and 5 plates, showing church façades in the Italian manner, with scales of measurements. ca. 21,5 x 14,7 cm on leaves of ca. 29,3 x 18,4 cm. (# 4471)

Not in Fuhring, I.F.F., or any of the other usual bibliographies (kind information of Dr Peter Fuhring). Unrecorded edition. An unknown engraver copied the plates in reverse from the original series, which was invented and etched by Jean Lepautre (first edition Paris, ca. 1670). In the original series five of the plates are divided into a left-hand and right-hand side, showing variants of the proposed façades. In the present series the façades are symmetric, so left-hand and right-hand side are the same. Also different from the original series is the fact that in our series NONE of the façades is placed against a sky. For the original series compare I.F.F. XVII, 12, Nos. 2120 - 2121, 2124 - 2125. Beautiful baroque designs for church façades in two stories, adorned with statues, balustrades, 3 plates with domes above the crossing. Invented by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). - Stain in blank margin of 2 leaves, lightly browned; nice set with ample margins.

Lepautre, Jean. Portails d'Eglise à l'Italienne. Nouvellement inventes par Jean le Pautre. Amsterdam, C(ornelis) II Dankcker(t)s, (no date). Complete series of nice engraved title and 5 plates, numbered in the plates, 1-6, showing church façades in the Italian manner, with scale of measurements in French feet. ca. 23,3 x 14,4 cm on leaves of ca. 31 x 19,5 cm. Sewn as issued. (# 4425)

Fuhring Nos. 4331 - 4336. Not in I.F.F. First Dutch edition, wich was so popular that it was reissued even until the 19th century. An unknown engraver copied the plates in reverse from the original French series, which was invented and etched by Jean Lepautre (first edition Paris, ca. 1670). For this original series compare: I.F.F. XVII, 12, Nos. 2120 - 2125. Interesting designs for church façades in Italian baroque style. Five of the plates with a variant of the right half. The façades have two storeys, with attached columns of the Ionic and Corinthian order, and are adorned with statues, balustrades. 3 plates with domes above the crossing. Invented by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). Cornelis II Danckerts (Amsterdam 1664 - 1717) was book and print publisher and book- and printseller in Amsterdam. - Slightly browned. The plates display the original string holes in the blank upper margin and are sewn together with original string. In the original state as issued.

Lepautre, Jean. Portails d'Eglise a Italienne nouvellement invente par Jean le Pautre. (No place, no publisher, no date). Very fine etched title (of a series of 6 plates), showing a church façade in the Italian manner, with scale of measurements. ca. 21,5 x 14,7 cm. (# 4472)

Not in Fuhring, I.F.F., or any of the other usual bibliographies (kind information Dr Peter Fuhring). Title from an unrecorded edition (a complete series in our possession). Copied by an unknown artist in reverse from the original series, which was invented and etched by Jean Lepautre (first edition Paris, ca. 1670). In the original series each plate is divided into a left-hand and right-hand side, showing variants of the proposed façades. In the present series the façades are symmetric, so left-hand and right-hand side are the same. (For the original series compare I.F.F. XVII, 12, Nos. 2120 - 2121, 2124 - 2125 (the present leaf). Beautiful baroque design for a church facade in two stories, adorned with statues, with a dome above the crossing. Invented by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). - Mounted.

Lepautre, Jean. Portes des choeur avec leurs Iubez et retables inventez et gravez par I. Le Pautre. Paris, Pierre (II) Mariette, 1661. Complete suite of beautiful etched title and 5 plates, with plate numbers, 1-6, showing choir screens, choir doors, balustrades and retables. ca. 23,2 x 16 cm on leaves of ca. 31,5 x 20,9 cm. (# 4415)

Fuhring No. 9556 (only one plate) and cf. (No. 9055, note). I.F.F. XVII, 12, Nos. 2092 - 2097. Cf. Kat. Orn. Berl. No. 313, II, No. 69 (only later, 4th edition). Third edition of these magnificent elaborate baroque designs for choir screens with doors and altar-pieces made of elaborately carved wood, brass, copper, wrought iron, some crowned with a balustrade with figures. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). - The plates display the original string holes in the upper blank border. Small tear in blank margin of all 6 leaves, very lightly browned, but a nice set with ample margins.

Lepautre, Jean. Retables dautels a ljtaliene (sic) inventes et gravés par Jean Le Potre. Paris, Pierre (II), Mariette, (no date, ca. 1658 - 1670). Complete series of beautiful etched title and 5 plates, numbered in the plates, 1-6, showing tabernacles in the manner of the Italians. ca. 21,5 x 15 cm on leaves of ca. 29,5 x 19,6 cm. (# 4460)

Fuhring Nos. 9526 - 9530 (only 5 plates). I.F.F. XVII, 12, Nos. 2027 - 2032. Cf. Kat. Orn. Berlin No. 313, II, No. 70 (only third edition). Second edition with plate numbers. Beautiful series of very elaborate baroque designs for altars and retables in Italian style, two of the plates with elevation and plan. The title depicts a church with groups of people wearing antique garb in front of a retable with a painting of the Adoration of the Kings; other plates show altars with a painting of the Ascension of the Virgin, the Crucifixion, the Resurrection, flanked by Corinthian and Ionic columns and decorated with statues of angels, the Virgin and St. John, soldiers, etc. Invented and etched by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). - Very light waterstain in blank margin. A nice set with ample margins.

Leuthen. Plan der Schlacht von Lissa oder Leuthen am 5. Dec. 1757 zwischen den Preussen unter dem commando Sr. Maj. des Königs und den Oesterreichern commandirt von dem Prinz Carl von Lothringen, gewonnen von den erstern. (Frankfurt a.O, Leipzig, 1777). Engraved military map, showing the positions of the Prussian and Austrian armies in the neighbourhood of Lissa or Leuthen, with explanatory text in German; in right upper corner "Tab. VI". Oblong folio. ca. 31,5 x 40 cm. (# 5797)

In IKAR, Landkartendrucke vor 1850. Military map published as appendix to: Lloyd, H. Geschichte des letzten Kriegs in Teutschland zwischen dem Koenige von Preussen und der Kayserin Koenigin und Ihren Alliirten in den Feldzuegen in den Jahren 1756 und 1757. Frankfurt a.O., Leipzig, 1777. The famous battle of Lissa or Leuthen (in Prussian Silesia) was the greatest of Frederick the Great's (Friedrich der Grosse) victories. He defeated with 36.000 men the Austrian army of 80.000. During the Seven Years War, a struggle for supremacy was going on in Germany between the House of Austria and the rising Kingdom of Prussia of Frederick the Great. The map shows the positions of the Prussian and Austrian armies, "the Retirade über die Schweidniz", "Nadafti's Corps an dem Tage vor der Schlacht" (=the Austrian commander Nadasdy), etc. - Slightly browned.

(Louis XV, King of France). Wahre Abbildung der königlichen Crönung Ludwigen des XV. Königs in Frankreich, geschehen zu Rheims den 25 October Anno 1722. (Frankfurt a.M., Heirs of Sigismund Latomus, 1723). Engraved broadsheet, showing the coronation of King Louis XV of France in the Cathedral of Reims, by an anonymous artist. Oblong folio, ca. 31,3 x 36,2 cm. (# 5789)

Cf. Drugulin No. 4020. Rather rare. This view of the interior of Reims cathedral originates from a "Messrelation", a precursor of the newspaper and periodical, published to coincide with the Frankfurt Book Fair, relating political and military contemporary historical events, which occured since the last fair. The richly adorned cathedral is full with wordly and ecclesiastical dignitaries, in the centre the kneeling King, receiving the crown. Louis XV (1710 - 1774) was the great-grandson of King Louis XIV. He was five years old when Louis XIV died. The Duke of Orleans was declared regent; Fleury, bishop of Fréjus, was appointed the king's tutor. He attained his legal majority at the age of thirteen. - Tiny tear in left margin, just touching the border line; slightly browned, horizontal and vertical fold.

Lucien, Jean Baptiste (1748-Paris-1806). Tête de St. Jerôme, dans le Tableau de la Communion de St. Jerôme, peint par le Dominiquain (Domenichino). Dessinée à Rome par Ed. Bouchardon. Paris, Chéreau, (c. 1770). Large print in crayon-manner in reddish brown, intermediary draughtsman Edmé Bouchardon (Chaumont-en Bassigny 1698-Paris 1762) after Domenichino (Bologna 1581-Naples 1641); representing the head of St. Jerome, in profile to left. Numbered on plate: "No. 199", top left, and "8e de la Collection", bottom right; lettered at bottom with title (see above) and "Ed. Bouchardon Del. J.B. Lucien Sculp." and "De la Collection des Dessins de Mr. Bouchardon appartenant à Mr. Chereau. A Paris chez Chereau rue des Mathurins St. Jacques No. 24". 40,7 x 35 cm. (# 5876)

In database British Museum. Domenichino/Domenico Zampieri painted the altarpiece of the "Last Communion of St.Jerome" in the San Girolamo della Carità in Rome, 1611-1614. Crayon-manner, a variant of etching, was invented in the 1750's; its aim was the imitation of red or brown chalk drawings. They were mostly intended as drawing examples. - With margins, at bottom trimmed to plate-mark; small crease and small inkstain at bottom below image. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Marot, Daniel. Ceilings. (Augsburg), J(eremias) Wolff, (no date, before 1724). 3 beautiful engraved plates (probably from a series of 6), with nos. 2, 4, 6, etched by C.R. ca. 18,6 x 26 cm on leaves of ca. 19,6 x 26,8 cm. (# 5557)

Fuhring (Nos. 8267 - 8632, note: our plates). Extremely rare German ornament prints, not in any of the usual bibliographies, not in Amsterdam, Berlin, Paris (kind information Dr Peter Fuhring). Copied in reverse by the German artist C.R. from the original untitled series of 6 plates, which was etched and published by Daniel Marot (The Hague, 1687 - 1702). Magnificent designs for sculpted and painted trompe-l'oeil ceilings in Louis XIV style. With mythological scenes, supported by columns, pilasters, arches, decorated with medallions, busts, rosettes, crowned escutcheons, etc. The famous French architect, ornament designer and engraver Daniel Marot (Paris 1663 - Amsterdam 1752) left France after the revocation of the Edict of Nantes in 1685. In Holland he became the architect of King-Stadtholder Willem III of Oranje, whom he followed to London. His great influence on German interior design becomes evident from this kind of German editions. - Slightly browned.

Marot, Daniel. Nouveaux livre de plaefond par D. Marot. (No place, no date, after 1703). Complete series of fine etched title and 5 plates, numbered in the plates, 1-6, showing designs for ceilings. Title standing size, the other plates in oblong size. ca. 27,1 x 18 cm on leaves of ca. 31 x 19,5 cm. Bound in 19th century limp boards (title loose). (# 4452)

Fuhring Nos. 8645 - 8649 (only 5 plates). Schestag (1871), 206 (only 5 plates). Rare edition by an unknown engraver. Copied, partly in reverse, from the original Dutch series "Nouveau Livre de Placfond" (first edition The Hague, 1687 - 1702). Cf. for this original series: Fuhring Nos. 8639 - 8644. Very ingenious designs for sculpted and painted ceilings in Louis XIV style. The title depicts a ceiling of the "Salles des Seigneurs États Generaux des Provinces Unies" in the Hague. Invented by the famous French architect, ornament designer and engraver Daniel Marot (Paris 1663 - Amsterdam 1752), who left France after the revocation of the Edict of Nantes in 1685. In Holland he became the architect of King-Stadtholder Willem III of Oranje, whom he followed to London. - Contemporary handwritten numbers in blank margin. Hole in blank margin of title, a few inkstains, browned and foxed.

Marot, Daniel. Nouvelle cheminees a panneaux de glace, a la maniere 'd France, du dessien de D. Marot, architecte. (No place, the Netherlands, no date, after 1703 - 1712). Complete series of beautiful etched title and 5 plates, showing chimney-pieces in the manner of the French. ca. 21,8 x 17,3 cm on leaves of ca. 24 x 18 cm. (# 4450)

Fuhring No. 9184 (title plate only). Kurth (1923), figs. 58 - 59 (2 plates only). Very rare complete series, not in any of the other usual bibliographies. Copied in reverse by an unknown artist from the series "Nouvelle Cheminees à Panneaux de Glace a la maniere de France", which was etched and published by Daniel Marot (first edition, 1703 - 1712). Very fine series of designs for chimney-pieces with mirrors and very elaborate ornamentation in French Louis XIV style. With Chinese vases, hanging sconces, a clock, a tapestry showing a pot of flowers; on five of the plates richly decorated doors and overdoors are depicted. Invented by the famous French architect, ornament designer and engraver Daniel Marot (Paris 1663 - Amsterdam 1752), who left France after the revocation of the Edict of Nantes in 1685. In Holland he became the architect of King-Stadholder Willem III of Oranje, whom he followed to London. - A good set.

Marot, Daniel. Nouvelle cheminees a panneaux de glace, a la maniere 'd France, du dessien de D. Marot, architecte. (No place, the Netherlands, no date, after 1703 - 1712). Complete series of beautiful etched title and 5 plates, showing chimney-pieces in the manner of the French. ca. 21,8 x 17,3 cm on leaves of ca. 32 x 19,2 cm. (# 4451)

Fuhring No. 9184 (title plate only). Kurth (1923), figs. 58 - 59 (2 plates only). Very rare complete series, not in any of the other usual bibliographies. Copied in reverse by an unknown artist from the series "Nouvelle Cheminees à Panneaux de Glace a la maniere de France", which was etched and published by Daniel Marot (first edition, 1703 - 1712). Very fine series of designs for chimney-pieces with mirrors and very elaborate ornamentation in French Louis XIV style. With Chinese vases, hanging sconces, a clock, a tapestry showing a pot of flowers; on five of the plates richly decorated doors and overdoors are depicted. Invented by the famous French architect, ornament designer and engraver Daniel Marot (Paris 1663 - Amsterdam 1752), who left France after the revocation of the Edict of Nantes in 1685. In Holland he became the architect of King-Stadtholder Willem III of Oranje, whom he followed to London. - The plates display the originals string holes in blank upper margin. Very lightly browned, blank lower right corner slightly thumbed. Handwritten numbers in blank upper margins. A nice set, with ample margins.

Marot, Daniel. Novae cheminae, quales plurimum in usu sunt apud Hollandos. (No place, the Netherlands, no date, after 1703). Complete series of magnificent etched title and 5 plates, showing richly decorated chimney-pieces. ca. 25 cm x 18,4 cm on leaves of ca. 29,4 x 18,7 cm. Sewn. (# 4455)

Destailleur (1863), 153. Ritter (1889), 245. Not in Fuhring and Bérard. First edition. Cf. for a later reissue with series number N. 14: Fuhring Nos. 9166 - 9171. The plates are copied by an unknown artist from the series "Nouvelles Cheminées faites en plusieurs endroits de la Hollande et autres Provinces", which was etched and published by Daniel Marot (first edition: The Hague, 1687 - 1702). Very beautiful designs in Louis XIV style for chimney-pieces and surrounding walls, constructed in Dutch castles and mansions. The title with scales of measurements in French and Dutch feet. Each plate depicts at the left, half of a richly decorated door with overdoor; the rich ornamentation contains mirrors, vases, a crowned clock, paintings, the crowned monogram WR (William Rex = King Willem III), the English royal coat of arms. The second plate shows a wall of lacquer panels and numerous Chinese porcelain vases on the cornice of the door and overmantel. The third plate has been executed, somewhat altered, in the 'Red Hall' in Voorst Castle in Eefde. The fifth plate shows an English chimney-piece, placed at an angle. The coat of arms of the Duke of Albemarle, Keppel, on the sixth plate suggests that this design was also intended for De Voorst. Invented by Daniel Marot (Paris 1663 - Amsterdam 1752), French architect, ornament designer and engraver, who left France after the revocation of the Edict of Nantes in 1685. In Holland he became the architect of King-Stadtholder Willem III of Oranje, whom he followed to London. - Stamp of J.A.F. Koempel in blank margin of last plate (not in Lugt). Left margin cut off by the binder, touching the plates, foxed.

Marot, Daniel. (Portes cocheres et d'eglises). (No place, probably the Netherlands, no date). Complete series of 6 beautiful etched plates of doorways of houses, inner courtyards and churches, fences of wrought-iron work, gates, elevations. ca. 18 x 27,3 cm on leaves of ca. 19,5 x 31,5 cm. (# 4446)

Fuhring No. 4365 (only one plate). Bérard, 18, No. 2. Rare untitled edition, by an unknown etcher and publisher. Copied (with some differences) in the same direction from the entitled series "Portes Cocheres et d'Eglises", which was etched and published by Daniel Marot. Cf. for this original series: Fuhring Nos. 4359 - 4364. Both series, original and copy, are listed by Fuhring as publications of the Netherlands. Magnificent designs of double doors and iron fences in Louis XIV style. Double doors with semi-circular fanlights, crowned with balustrades, balconies, vases, in front of some of them staircases or platforms; above the double door of the entrance to a mansion with mansard roof, is a cartouche: "LHotel de Lusart". Invented by the famous French architect, ornament designer and engraver Daniel Marot (Paris 1663 - Amsterdam 1752), who left France after the revocation of the Edict of Nantes in 1685. In Holland he became the architect of King-Stadtholder Willem III of Oranje, whom he followed to London. - Slightly browned. A fine set of this beautiful and rare series.

Meyer-Kassel, Hans (Kassel 1872-Genoa USA 1952). Sailing ship docked at the harbor quay, seen from the bow, with all sails set. At the background to the right other sailing ships, to the left a town. (Probably Germany, before 1921). Etching showing a fine nautical scene, at the bottom signed in the plate "H. Meyer-Cassel". 21,5 x 12 cm (plate mark). (# 5837)

Hans Meyer-Cassel (later signed Meyer-Kassel) was such an outstanding artist that his native city acclaimed him by having Kassel added to his name. He enjoyed also success and honours in the U.S.A. and is known as "Nevada artist". From 1892, he studied and worked for 12 years (with some interruptions) in München, then in Kassel. In 1921 he immigrated to the U.S.A., had for ten years a studio in New York city, came to Pasadena, California, in 1935, and went to Nevada in 1937; in Nevada he lived in Reno, Carson City and later in Genua where he died. See: Thieme-Becker XXIV 482-483 and Vollmer, III 383. - A few light brown spots in the very large blank margins. Good impression.

Monogrammist HSD, copy after Hans Sebald Beham. S. Thomas. Holland or Antwerp, ca. 1570 - 1580. Engraving. 53 x 34 mm. (# 5450)

Bartsch IX, 545 and cf. VIII No. 49. Pauli, Beham, No. 45a and No. 51a. Nagler, Monogrammisten III No. 1519 (No. 7): "Sehr gut gestochen sind die Apostel ... Diese sehr schönen Blätter". Hollstein, Dutch, XIII 61. Very good impression on thick laid paper of this beautiful engraving showing S. Thomas holding a lance in his right hand, with subscription "S. Thomas, HSB (Hans Sebald Beham)"; in the left lower corner the minuscule monogram HSD; in the left upper corner the number 7. The original suite of the 12 Apostles was made by Hans Sebald Beham (Nürnberg 1500 - Frankfurt a.M. 1550) in 1545 - 1546. According to Nagler the Monogrammist HSD lived in Holland or Antwerp ca. 1570 - 1580, where he made also engravings after Peter van der Borcht, which were published in Amsterdam, and after Pieter Breughel the elder. According to Hollstein he lived ca. 1546 - 1580 in Antwerp. Nagler praises the high quality of this engraving and disagrees with Bartsch, who ascribes this print to a German master. S. Thomas is the patron Saint of architects. - Lightly browned; left and right side with thread margins, upper and lower margins cut to the plate-mark. From the famous Viennese collection of Franz Gawet (1762 or 1765 - 1847) with his signature on verso (Lugt No. 1069). His collection is well-known for its very high quality.

Moyreau, Jean (Orléans 1691-Paris 1762). Les adieux d'Hector et d'Andromaque, after Bon Boullogne. Paris, 1726. Nice oblong etching, showing at centre Hector, the commander of the Trojan armies, bidding farewell to his wife Andromache and their son Astyanax, who being frightened by Hector's helmet flings himself into the arms of his nurse; Hector in battle dress steps on a chariot drawn by two horses; soldiers, Andromeda's maids and inhabitants of Troy are surrounding the family. In the background the walls and a monumental gateway of Troy; signed in the plate "De Boulogne lainé inv. J. Moyreau sculp. Pont S. Michel au chat d'Espagne, 1726". With 2 columns of 4 lines of etched French text below (see note). 29 x 38,2 cm. (# 5832)

Le Blanc III, 60 No. 6. Nagler XI, 47 No. 10. Etched after the painting Les Adieu d'Hector et d'Andromaque, painted c. 1699 by Bon Boullogne, also named Boullogne l'Ainé (Paris 1649-Paris 1717), which is now in the Musée des Beaux-Arts in Troyes. Jean Moyreau was a pupil of Bon Boullogne. Inscription underneath: "Hector, dont le destin devoit bientost arrêter le Cour de sa vie: sort de Troye pour combâtre et repousser les Grecs. Il dit adieu à sa chere Andromaque, qui, pour le retenir luy presente son fils Astianax; afin de l'empêcher d'aller chercher la mort, prédite par Cassandre: Mais ce heros voulant secourir sa patrie et toûché de voir sa famille affligée il precipite son départ; apres avoir embrassé son fils; qui effrayé de voir le casque sur la teste de son pere, se jette entre les bras de sa nourice. Illiade I.6". - Good impression, with margins, paper very lightly discoloured. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Neureuther, Eugen (München 1806 - 1882). Christmas tree decorated by ten members of the Münchner Radirklub (Munich Etching-club). München, 1843. Fine etching on heavy paper, showing the artists Eugen Neureuther himself, E. Kirchner, J. Hueber, F. Foltz, J.A. Klein, H. Dyck, M. Zimerman, C. Heinzman, W. Gaib, and Chr. Morgenstern, growing out of flower-buds, decorating a christmas tree; on top of the tree, a sign inscribed "Radirungen von..."; next to the stem of the tree, a model of the Frauenkirche (cathedral) in München and a book inscribed "erstes, zweites Heft - ausgezeichnet schön". Signed with artist's monogram and dated on plate; each name lettered next to the portrait of the individual artists depicted. 14,7 x 18,4 cm (plate-mark). (# 2240)

Nagler, Monogrammisten II, 635 No. 12. In database British Museum (copy on Chine collé). Title sheet for a portfolio of etchings by a variety of German artists of 1843, for the 'Radirungen des Münchner Radirklubs, München 1844'. - Foxed. Good impression on heavy paper, with ample margins.

Neureuther, Eugen (München 1806 - 1882). Christmas tree decorated by ten members of the Münchner Radirklub (Munich Etching-club). München, 1843. Fine etching on Chine collé, showing the artists Eugen Neureuther himself, E. Kirchner, J. Hueber, F. Foltz, J.A. Klein, H. Dyck, M. Zimerman, C. Heinzman, W. Gaib, and Chr. Morgenstern, growing out of flower-buds, decorating a christmas tree; on top of the tree, a sign inscribed "Radirungen von..."; next to the stem of the tree, a model of the Frauenkirche (cathedral) in München and a book inscribed "erstes, zweites Heft - ausgezeichnet schön". Signed with artist's monogram and dated on plate; each name lettered next to the portrait of the individual artists depicted. 13,8 x 17,8 cm. (# 2242)

Nagler, Monogrammisten II, 635 No. 12. In database British Museum. Title sheet for a portfolio of etchings by a variety of German artists of 1843, for the 'Radirungen des Münchner Radirklubs, München 1844'. - Good impression on Chine collé.

Neureuther, Eugen Napoleon (München 1806 - 1882). Des Pfarrers Tochter von Taubenhein. (No place, 1844). Fine etching illustrating in romantic style the second couplet of 5 lines of a ballad by Gottfried August Bürger. Folio. 36 x 24,5 cm. (# 5801)

Nagler XI, 312, No. 5. Gottfried August Bürger (1747 - 1794) published the ballad "Des Pfarrers Tochter von Taubenhein" in 1782, which inspired Neureuther to create this famous etching with the same title. - Mounted; tear repaired, affecting the print; margins cut short.

(Oeschinensee). Lac d'Oschy. (Paris, 1825). Color lithograph designed by E. Pingret, lithographed by Langlois. Ca. 18,4 x 27,9 cm. (# 5796)

Nice view of the Oeschinensee in Kanton Bern in Switzerland. From: Sazerac, Un mois en Suisse, Paris, Sazerac & Duval, 1825. - Slightly foxed, with very ample margins.

Pfeiffer, F.J. De werking der vryheids zoonen, Opgedraagen aan alle waare voorstanders der Nederlandsche Vrijheid. Rotterdam, D. de Jong, 1784. Large allegorical engraving showing a corps of armed patriotic civilians engraved by L. Brasser after F.J. Pfeiffer, with a 12-line engraved Dutch poem underneath by P.J. Kasteleijn. Oblong folio. ca. 37 cm x 41,5 cm. (# 5785)

Atlas van Stolk No. 4575, 2. Müller, Nederlandsche Historieplaten, III No. 4618. Uncommon sheet. The Patriots of the patriotic movement "Patriottenbeweging" in the Netherlands were in favour of armed civilian militia, to establish an enlightened democratic republic. The Pro-Orange party wanted to keep things as they were. The large allegorical engraving illustrates a corps patriotic civilian soldiers expelling discord, betrayel, mutiny and selfishness. At the left side the freedom standard is erected, at the right side a pyramid with the coat of arms of the Seven Provinces. In the middle stands a soldier in Roman attire with wreaths of grass and oakleaf, symbolizing the victory and rescue of the fatherland. The author of the poem Petrus Johannes Kasteleijn was born 1746 in Breukelen, he died in Amsterdam 1794. For the painter François Joseph Pfeiffer (I) (Aachen 1741 - Amsterdam 1807) see: Thieme-Becker XXVI, 528. For the engraver Leendert Brasser (Maassluis 1727 - Rotterdam 1793) see: Thieme-Becker IV 543. - Slightly foxed, with ample margins.

Picart, Bernard (Paris 1673-Amsterdam 1733). L'accord de la Religion avec la Philosophie, ou de la Raison avec la Foy. Paris, 1708. Fine oblong allegorical etching: the agreement between Religion and Philosophy, or between Reason and Faith; Philosophy, personified by a woman crowned with stars, shakes hand with Religion, who stands at the top of some steps, next to the Bible; on the right stand Faith, covered by a veil, and Hope, carrying an anchor and praying; on the left the daughters of Philosophy (Poetry, Geometry, Grammar, Chemistry, Painting, Rhetoric and Music). At bottom signed in the plate "Inventé et gravé par B. Picart en 1708". 9,7 x 15,3 cm. (# 5872)

Dimier I, 391, No. 492. Picart did this engraving to accompany a Sorbonne thesis in philosophy that exists now, however, only in manuscript in the Bibliothèque Nationale, Paris. In database British Museum, another, probably later, state surmounts an engraved explanatory text by Prosper Marchand: there the scene and the text are printed from two separate plates on a single sheet. The printmaker Bernard Picart, trained in Paris but worked in the Netherlands 1696-1698, returned to Paris and after the death of his wife and children turned Huguenot, and left definitively for Holland in 1710, settled initially in The Hague, then in 1711 in Amsterdam. - Trimmed inside plate mark. Bright impression on strong paper. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Picart, Étienne (Paris 1631-Amsterdam 1721). Separation de St. Pierre et de St. Paul. D'apres le tableau de Jean Lanfranc (Giovanni Lanfranco) qui est dans le Cabinet du Roy, de quatre pieds de haut, sur 4 pieds et demy de large. Sanctorum Petri et Pauli acerba a se invicem discessio... Roma, 1679. Large oblong engraving, showing Saint Peter and Saint Paul being separated by soldiers and other people, in front of a landscape with a river and a fortified city; at bottom 2 columns each with 3 lines of engraved French and Latin text (see above); underneath signed in the plate "Steph. Picart Rom. sculps. 1679." 43,5 x 47,7 cm. (# 5844)

Nagler XII, 409 No. 25. Le Blanc III, 196, No. 20. The original painting by Giovanni Lanfranco (Parma 1582-Roma 1647), which belonged to Louis XIV, is preserved in the Musée national des Châteaux de Versailles. The engraving is in reverse. Étienne (also named Stephanus) Picart, is often called "Le Romain" from the years he worked in Rome. He became member of the Académie Royale in Paris in 1664, and worked for the Cabinet du Roy Louis XIV. He spent the last years of his life from 1710 in the Netherlands where he emigrated with his son, the famous engraver Bernard Picart. - Sharp impression on heavy paper, with small margins. In lower blank margin written in black ink "Goy Ton". Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

(Piles, R. de). Les premiers elemens de la peinture pratique enrichis de figures de proportion mesurées sur l'antique, dessinées & gravées par J.B. Corneille peintre de l'Academie Royale. Paris, N. Langlois, 1684. With beautiful engraved frontispiece, vignette on title, one full-page engraving of an artist's easel and 8 engravings in the text showing a palette and other painter's requisites. 5 lvs., 96 pp. 12mo. - Bound with: Le Clerc, Sebastien. Figures d'académie pour aprendre a désiner. Paris, N. Langlois, (no date). Engraved title and 20 numbered plates showing nude gods and heros from antiquity with indication of proportions. - Bound with: Suite of 30 fine unnumbered engraved plates, showing male nudes. Bound together in nice contemporary marbled calf, back with 5 raised bands and richly gilt compartments. (# 5594)

Ad I: Cicognara No. 314 "piuttosto raro". Not in Kat. Orn. Berlin. Rare first edition of this manual on painting, here with a beautiful frontispiece, which is lacking in most copies. "This treatise on painting had a tremendous influence in its time" (Birren, The history of colour in painting, 44-45). It contains the earliest known engraving of a palette, deals with colour, and gives explications, recipes, advices for artists. This manual by the French painter Roger de Piles (1635 - 1709) is "one of the first and oldest books in France, which gives us information about the working methods of a painter of that period" (Schmid, The practice of painting, 47). The engraver Jean-Baptiste Corneille "le jeune" (1649 - 1695) was a well-known painter and professor at the Académie Royale. He was thought to have been the author of this work for a long time. - Ad II: I.F.F. XVIIe, III, 141-142, Nos. 31-50. Cf. Kat. Orn. Berlin No. 4619. - Ad III: I.F.F. XVIIe, VIII, 293-297, Nos. 1055-1086. - Well preserved copy in a nice contemporary binding.

Pineau, Nicolas. Chimney-pieces. Aug. Vind. (Augsburg), J.G. Merz, (n.d.). 4 fine plates from a series of (probably) 6, with series number A. Nos. 2-3, 5-6, with French and German text. ca. 32,2 x 21,2 cm with ample margins. (# 5536)

Not mentioned in any of the usual bibliographies. Extremely rare German ornament prints. Copies by Johann Georg Merz (1694 - 1762) of plates from the "Architecture Françoise" (Paris, Jean Mariette, 1727-1738). The plates show magnificent designs of chimney pieces with tapestries, candle-holders, panneling. The beautiful designs of the sculptor, decorator, interior designer and engraver Nicolas Pineau (Paris 1684 - Paris 1754) range from the Louis XIV until the Louis XV style. - Slightly thumbed, two tears repaired in one plate, small ink-stains on one plate. With collector's stamp on verso of 2 plates of Fritz Hasselmann (second half of the 19th century), architect in München (Lugt No. 1012).

Pineau, Nicolas. Trumeaux. Aug. Vind. (Augsburg), J.G. Merz, (n.d.). 3 fine plates from a series of (probably) 6, with series number C. Nos. 2, 4-5, with French and German text. ca. 32 x 21 cm on leaves of ca. 35,5 x 23,7 cm. (# 5534)

Not mentioned in any of the usual bibliographies. Extremely rare German ornament prints. Copies by Johann Georg Merz (1694 - 1762) of plates from the "Architecture Françoise" (Paris, Jean Mariette, 1727-1738). The plates show elaborate wall decorations with large mirrors, tables. The beautiful designs of the sculptor, decorator, interior designer and engraver Nicolas Pineau (Paris 1684 - Paris 1754) range from the Louis XIV until the Louis XV style. - Small tear in one blank margin, mainly marginal waterstain to one plate; margin of one plate very slightly thumbed; printed on thick paper. With collector's stamp on verso of 2 plates of Fritz Hasselmann (second half of the 19th century), architect in München (Lugt No. 1012).

Pineau, Nicolas. Trumeaux. Aug. Vind. (Augsburg), J.G. Merz, (n.d.). 4 fine plates from a series of (probably) 6, with series number C. Nos. 2-5, with French and German text. ca. 32 x 21 cm on leaves of ca. 36,2 x 22,1 cm. (# 5532)

Not mentioned in any of the usual bibliographies. Extremely rare German ornament prints. Copies by Johann Georg Merz (1694 - 1762) of plates from the "Architecture Françoise" (Paris, Jean Mariette, 1727-1738). The plates show elaborate wall decorations with large mirrors, doors, tables. The beautiful designs of the sculptor, decorator, interior designer and engraver Nicolas Pineau (Paris 1684 - Paris 1754) range from the Louis XIV until the Louis XV style. - Somewhat foxed.

Pineau, Nicolas. Wall decorations and furniture. Aug. Vind. (Augsburg), J.G. Merz, (n.d.). 4 fine plates from a series of (probably) 6, with series number B. Nos. 2-4, 6, with French and German text. ca. 32 x 21 cm on leaves of ca. 35 x 23,9 cm. (# 5535)

Not mentioned in any of the usual bibliographies. Extremely rare German ornament prints. Copies by Johann Georg Merz (1694 - 1762) of plates from the "Architecture Françoise" (Paris, Jean Mariette, 1727-1738). The plates show elaborate designs of a side-table and water-cattle for a dining-room, made of marble, gilt lead, with painted and wooden decorations; a bedroom with a bed in an alcove and a stove with a clock on top, large mirrors, doors. The beautiful designs of the sculptor, decorator, interior designer and engraver Nicolas Pineau (Paris 1684 - Paris 1754) range from the Louis XIV until the Louis XV style. - Mainly marginal waterstain to 2 plates, 1 plate slightly thumbed. With collector's stamp on verso of 2 plates of Fritz Hasselmann (second half of the 19th century), architect in München (Lugt No. 1012).

Ridinger, Johann Elias (Ulm 1698-Augsburg 1767). A nude young woman sitting on a galloping horse, drawn by Johann Elias Ridinger, engraved and published by Johann Esaias Nilson. Augsburg, Johann Esaias Nilson, (no date). Oblong engraving of the female personification of the fleeting moment: a nude woman, bald with only a tuft of hair on the forehead, sitting astride on a galloping horse, in a landscape. In bottom margin lettered with quotation from Cato's Moralia "Fronte capillata est posthaec Occasio calva." (Chance has hair over her forehead, but behind she's bald). 14,1 x 20,5 cm. (# 5870)

Thienemann No. 1309. Rather rare emblematical engraving, only mentioned by Thienemann in the section "Nachträge". Plate 2 from a series of 2 emblems representing Time; the other engraving (with series number XXXIIII) however is not designed by Ridinger, but by Georg Philipp Rugendas; both are engraved and published in Augsburg by Johann Esaias Nilson (Augsburg 1721-Augsburg 1788). The image of hair hanging on the forehead and a bald nucha was asscociated in Roman times to the goddess Fortuna and the concept of Occasia: a favourable opportunity must be grasped, otherwise the moment is gone. The German painter, etcher and publisher of prints and drawings Johann Elias Ridinger was born in Ulm 1698, came to Augsburg 1713/14, and 1718/19 back to Augsburg, after three years of being in Regensburg. 1759 he became director of the "Stadtakademie Augsburg", where he died in 1767. - Good impression on strong paper, trimmed inside plate-mark.

Ridinger, Johann Elias (Ulm 1698-Augsburg 1767). Der nach Honig suchende Baehr. Augsburg, (1738). Fine etching and engraving of a bear looking for honey; sitting on top of a hollow tree-trunk containing a swarm of bees, trying to get rid of the bees stinging into his face; lettered at bottom with title (see above) and "J.E. Ridinger inv. fec. et exc. Aug. Vind. N. 39." 15 x 18,7 cm. (# 5866)

Thienemann & Schwarz No. 429: "Diese Tafeln sind sehr gesucht", these plates are much wanted. First state. Plate 39 from the series "Darstellung einzelner, sowohl in- als ausländischer Tiere", part III, Augsburg, 1738-1740. The German painter, etcher and publisher of prints and drawings Johann Elias Ridinger was born in Ulm 1698, came to Augsburg 1713/14, and 1718/19 back to Augsburg, after three years of being in Regensburg. 1759 he became director of the "Stadtakademie Augsburg", where he died in 1767. - Good impression, with ample margins.

Ridinger, Johann Elias (Ulm 1698-Augsburg 1767). Ein Vordertheil und zwei Hintertheile von Hunden, so gross, als es der Raum gestattet, leicht schattirt. Augsburg, 1728. Etching of the fore-part of one dog and the back of two dogs. Lettered at bottom "Joh. Elias Ridinger inven. sculps. et excud. Aug.Vind." and "4". 19,1 x 23,3 cm. (# 5886)

Thienemann No. 728: "Es ist eine Jugendarbeit unseres Künslers". A juvenile work. Plate 4 from the series "Neues Thier Reis Büchl, Erster Theil, allerlei Art Hunde vorstellend". Part I, Augsburg, 1728. The German painter, etcher and publisher of prints and drawings Johann Elias Ridinger was born in Ulm 1698, came to Augsburg 1713/14, and 1718/19 back to Augsburg, after three years of being in Regensburg. 1759 he became director of the "Stadtakademie Augsburg", where he died in 1767. - With very large margins.

Ridinger, Johann Elias (Ulm 1698-Augsburg 1767). Ein Vordertheil und zwei Hintertheile von Hunden, so gross, als es der Raum gestattet, leicht schattirt. (Wie vorher = Thienemann No. 728, doch das Verhälltniss umgekehrt). Augsburg, 1728. Etching of the fore-part and the back of three dogs. Lettered at bottom "Joh. Elias Ridinger inven. sculps. et excud. Aug.Vind." and "5". 19,1 x 23,3 cm. (# 5887)

Thienemann No. 729: "Es ist eine Jugendarbeit unseres Künslers". A juvenile work. Plate 5 from the series "Neues Thier Reis Büchl, Erster Theil, allerlei Art Hunde vorstellend". Part I, Augsburg, 1728. The German painter, etcher and publisher of prints and drawings Johann Elias Ridinger was born in Ulm 1698, came to Augsburg 1713/14, and 1718/19 back to Augsburg, after three years of being in Regensburg. 1759 he became director of the "Stadtakademie Augsburg", where he died in 1767. - Paper lightly foxed. With very large margins.

Ridinger, Johann Elias (Ulm 1698-Augsburg 1767). Eine nach dem Raub eilende Löwin. Augsburg, (1738). Fine etching and engraving of a lioness rushing at the prey; with wide open mouth, upwards bent tail, she attacks furiously; lettered at bottom with title (see above) and "J.E.R.f. N. 29". 18,9 x 15,2 cm. (# 5867)

Thienemann & Schwarz No. 419: "Diese Tafeln sind sehr gesucht", these plates are much wanted. First state. Plate 29 from the series "Darstellung einzelner, sowohl in- als ausländischer Tiere", part II, Augsburg, 1738-1740. The German painter, etcher and publisher of prints and drawings Johann Elias Ridinger was born in Ulm 1698, came to Augsburg 1713/14, and 1718/19 back to Augsburg, after three years of being in Regensburg. 1759 he became director of the "Stadtakademie Augsburg", where he died in 1767. - Minimal spotting in blank margins. Good impression, with margins.

Ridinger, Johann Elias (Ulm 1698-Augsburg 1767). Gemeiner Esel ausschlagend. (Augsburg, 1754). Etching and engraving of a donkey lashing out; his driver to left is beating him. Lettered at bottom with title (see above) and "J.E.R. fec. No. 34." 18,7 x 14,6. (# 5875)

Thienemann No. 514. In database British Museum. Plate 34 from the series "Darstellung einzelner, sowohl in- als ausländischer Tiere", part VII, Augsburg, 1754. The German painter, etcher and publisher of prints and drawings Johann Elias Ridinger was born in Ulm 1698, came to Augsburg 1713/14, and 1718/19 back to Augsburg, after three years of being in Regensburg. 1759 he became director of the "Stadtakademie Augsburg", where he died in 1767. - Good impression on strong paper; a few very light brown spots in lower margin, trimmed to plate-mark.

Ridinger, Johann Elias (Ulm 1698-Augsburg 1767). Kleinere arth der Esel, mit seiner verpackung. (Augsburg, 1754). Fine etching and engraving of a loaded donkey; lettered at bottom with title (see above) and "J.E.R. fec. N. 36." 19,5 x 14,5 cm. (# 5881)

Thienemann No. 516. Plate 36 from the series "Darstellung einzelner, sowohl in- als ausländischer Tiere", part VII, Augsburg, 1754. The German painter, etcher and publisher of prints and drawings Johann Elias Ridinger was born in Ulm 1698, came to Augsburg 1713/14, and 1718/19 back to Augsburg, after three years of being in Regensburg. 1759 he became director of the "Stadtakademie Augsburg", where he died in 1767. - Good impression, trimmed close to plate-mark, a few brown spots. Lines of pencil forming a grid over the image.

Ridinger, Johann Elias (Ulm 1698-Augsburg 1767). (Löwe) Andere arth ruhend. Augsburg, (1738). Fine etching and engraving of a resting lion; he has placed his head between his forepaws, being fast and quiet asleep; lettered at bottom with title (see above) and "J.E.R. fec. N. 21." 15,9 x 18,4 cm. (# 5868)

Thienemann & Schwarz No. 411: "Diese Tafeln sind sehr gesucht", these plates are much wanted. First state. Plate 21 from the series "Darstellung einzelner, sowohl in- als ausländischer Tiere", part II, Augsburg, 1738-1740. The German painter, etcher and publisher of prints and drawings Johann Elias Ridinger was born in Ulm 1698, came to Augsburg 1713/14, and 1718/19 back to Augsburg, after three years of being in Regensburg. 1759 he became director of the "Stadtakademie Augsburg", where he died in 1767. - Good impression, trimmed close to platemark.

Ridinger, Johann Elias (Ulm 1698-Augsburg 1767). Sechs Köpfe von Hunden verschiedener Rasse. Augsburg, 1742. Etching and engraving; studies of heads of 6 dogs, intended as drawing examples. Lettered at top "3", and at bottom "Joh. El. Ridinger del. fec. et exc. A.V." 24,3 x 15,8 cm. (# 5884)

Thienemann No. 739. Plate 3 from the series "Neues Zeichnungsbuch darin wilde und zahme Thiere auch Feder Wild vorgestellet und nach dem Leben gezeichnet. Augsburg 1742". The German painter, etcher and publisher of prints and drawings Johann Elias Ridinger was born in Ulm 1698, came to Augsburg 1713/14, and 1718/19 back to Augsburg, after three years of being in Regensburg. 1759 he became director of the "Stadtakademie Augsburg", where he died in 1767. - Partly mounted, lightly browned, trimmed within platemark.

Ridinger, Johann Elias (Ulm 1698-Augsburg 1767). Umrisse von acht Hundeköpfen, darunter ein Schädel, durch sie umgebende Schraffirung gehoben und mit mancherlei Linien zur Erleichterung des Nachzeichnens versehen. Augsburg, 1742. Etching and engraving; studies of 8 heads of dogs with auxiliary lines, intended as drawing examples. Lettered at top "2", and at bottom "Joh. El. Ridinger del. fec. et exc. A.V." 24,4 x 16,2 cm. (# 5883)

Thienemann No. 738. Plate 2 from the series "Neues Zeichnungsbuch darin wilde und zahme Thiere auch Feder Wild vorgestellet und nach dem Leben gezeichnet. Augsburg 1742". The German painter, etcher and publisher of prints and drawings Johann Elias Ridinger was born in Ulm 1698, came to Augsburg 1713/14, and 1718/19 back to Augsburg, after three years of being in Regensburg. 1759 he became director of the "Stadtakademie Augsburg", where he died in 1767. - Three corners mounted, small tear at right side, trimmed to platemark.

Ridinger, Johann Elias (Ulm 1698-Augsburg 1767). Zwei grosse Löwenköpfe, der obere von der Seite, ruhig, der untere von vorn, ergrimmt. Augsburg, 1742. Etching and engraving of two heads of lions, intended as drawing examples. Lettered at top "12", and at bottom "J. E. Ridinger fec. et exc. A.V." 24,5 x 16,1 cm. (# 5885)

Thienemann No. 748. Plate 12 from the series "Neues Zeichnungsbuch darin wilde und zahme Thiere auch Feder Wild vorgestellet und nach dem Leben gezeichnet. Augsburg 1742". The German painter, etcher and publisher of prints and drawings Johann Elias Ridinger was born in Ulm 1698, came to Augsburg 1713/14, and 1718/19 back to Augsburg, after three years of being in Regensburg. 1759 he became director of the "Stadtakademie Augsburg", where he died in 1767. - Good impression on strong paper, with ample margins. Light waterstain below. Collector's stamp on verso "G.H. 1894" of Georg Hamminger (Lugt No. 1159).

Ridinger, Johann Elias (Ulm 1698-Augsburg 1767). Zwei Hunde zusammengekoppelt in ganzer Figur, der eine schläft, der andere steht, in einer Landschaft. Augsburg, 1728. Nice etching and engraving of a landscape with two dogs bound together, one sleeping, the other standing. Lettered at bottom "Ioh. Elias Ridinger inv. sculps. et exc. A.V." (and) "8". 18,9 x 23,5 cm. (# 5882)

Thienemann No. 732: "Es ist eine Jugendarbeit unseres Künslers". In database British Museum. A juvenile work. Plate 8 from the series "Neues Thier Reis Büchl, Erster Theil, allerlei Art Hunde vorstellend". Part I, Augsburg, 1728. The German painter, etcher and publisher of prints and drawings Johann Elias Ridinger was born in Ulm 1698, came to Augsburg 1713/14, and 1718/19 back to Augsburg, after three years of being in Regensburg. 1759 he became director of the "Stadtakademie Augsburg", where he died in 1767. - Paper lightly browned, small inkstain at top. Good impression, trimmed close to platemark.

Romanet, Antoine Louis (Paris 1742/43-after 1810). Portrait de Jean Grimoux peint par lui même. Paris, D.Ch. Buldet, 1765. Beautiful engraved and etched portrait of the painter Jean Alexis Grimou(x), bust directed to right, lettered in lower margin "Dédiée à Monsieur Emmanuel Handmann Peintre à Bâle. Tiré de la Coll.n de Tableaux de Mr Handmann - Par son Ami et Serviteur Chr.t de Mechel. Gravé à Bâle par A.L. Romanet en 1765. A Paris chez Buldet rue de Gesvres au Grand Coeur". 25 x 19,8 cm (plate-mark). (# 5850)

Le Blanc III, 353, No. 26. Nagler XV, 89, No. 6. Beautiful artist's portrait engraved after the painted self-portrait of the painter Jean alias Alexis Grimou (Argenteuil 1678-Paris 1733). The engraver Antoine Louis Romanet worked 1765-1767 with Christian von Mechel in Basel and then returned to Paris. This dedicator Christian von Mechel (Basel 1737-Berlin 1817) was a Swiss engraver. The portrait belonged to the Collection of Paintings of the Swiss painter Jakob Emanuel Handmann (Basel 1718-Bern 1781). - Ample margins. Paper slightly foxed.

Rossi, J. Denkbuch für Fürst und Vaterland. Wien, 1814-1815. 4 plates from "Denkbuch" showing buildings in Vienna in festive lighting, drawn by A. Pichler and etched by V(incenz) R(aimund) Grüner. ca. 22 - 24 cm x 35 - 37,5 cm on leaves of ca. 29,7 x 47 cm. (# 5781)

Nebehay-Wagner, Bibliographie altösterreichischer Ansichtenwerke, No. 574. A complete "Denkbuch" contains 29 plates. Plate 2: "Beleuchtung des Pallastes Sr. K. Hoheit des Erzherzogs Maximilian"; plate 3: "Beleuchtung des Landhauses der N: C: Herrn Stände"; plate 5: "Beleuchtung des Fürstlich Trautmannsdorfischen Gebäudes No 68 in der Stadt"; plate 14: "Beleuchtung des Pallastes J. Kais. Hoheiten der Erzherzoge Ranier u. Ludwig. In der Stadt Nro 883." For the etcher Vincenz Raimund Grüner (1771 Prague - 1832 Vienna) see: Thieme-Becker XV, 131. - Plate 5 slightly browned, blank margin slightly frayed. Well printed with ample margins.

Rüst, Hans. World-map in circular form. Ca. 1460. (Facsimile Ludwig Rosenthal's Antiquariat, München, ca. 1920). Reproduction in colours of the oldest printed map. 400 x 282 mm. (# 3526)

The map shows interesting mediaeval features. The inscription on the scroll above the map reads: 'Das ist die mapa mundi und alle land und Kungreich wie sie ligend in der gantze welt'. At the bottom are two small circular maps representing the four elements and the world divided into three. Between those a scroll with Hans Rüst's name. The map is no doubt the oldest printed map and has for cartography the same interest as Gutenberg's works have for the history of typograpy.

Schmidt, Matthias (Mannheim 1749-München 1823). Landscape with large trees, some rural buildings and two people; after Ferdinand Kobell. Oblong etching, at bottom signed in the plate "Ferdinand Kobell del. 1776. Mathias Schmidt fec." 17,7 x 16,2 cm. (# 5873)

Nagler XVII, 338. The etcher and lithographer Matthias Schmidt was a pupil of Ferdinand Kobell, he became director of the Kupferstich-Kabinett in München. Ferdinand Kobell (Mannheim 1740-München 1799), painter and etcher, moved 1793 to München when the French armies came. - Good impression on strong paper, with margins.

Silvestre, Israël (Nancy 1621-Paris 1691), after. Tempio del Sole. Second half of 17th century. Oblong etching, representing the Tempio del Sole and some other buildings in Rome. At bottom lettered in the plate "Tempio del Sole". 15,1 x 6,9 cm. (# 5898)

Copy in reverse after an etching by Israël Silvestre (for the original see: Faucheux No. 3.9). This original belongs to a series of 12 etchings "Antique e Moderne Vedute di Roma e Contorno", published in Paris (Nagler XVI, 409). Israël Silvestre was in Italy in 1640, 1643-1644 and again in 1653. - Trimmed to plate-mark, to the right trimmed to the border; mounted; a few brown spots.

Strixner, Nepomuk (Altötting 1782-München 1855). Dorfstrasse, after Anthonie Waterloo (Lille 1609-Utrecht 1678). München, J. Stuntz, 1811-1816. Oblong chalk lithograph of a street in a village. Lettered below "A. Waterloo" and "N. Strixner del.". 22,2 x 34,6 cm. (# 5899)

Winkler No. 965, 68.5. Dussler, (München II), p. 158, No. LXVIII,5. Incunable of lithography. "Dorfstrasse. Sie geht von der Mitte etwas nach links, wo sie durch Balken versperrt ist. Rechts ein zerstörtes Haus, von dem noch der Kamin steht. Ein Fachwerkhaus und hinter Bäumen drei weitere sind noch gedeckt. Vorn links Abfälle, dahinter Weidenbaum" (Winkler). Johann Nepomuk Strixner was lithographer in München. Anthonie Waterloo, draughtsman, painter and etcher, born in Lille, lived in Amsterdam, Leeuwarden, Maarssen and retired to an almshouse in Utrecht. From: "Chr. von Mannlich. Les Oeuvres lithographiques. Contenant un choix de dessins d'après les grands maîtres de toutes les écoles, tiré des Musées de sa Majesté le Roi de Bavière." Published under the direction of Strixner, Ferdinand Piloty & Cie, by J. Stuntz in München, 1811-1816. Issued in 72 parts each of 6 sheets. - Ample margins.

Strixner, Nepomuk (Altötting 1782-München 1855). Hirten mit Kamel- und Rinderherde; after a drawing by Abraham van Diepenbeeck ('s-Hertogenbosch 1596-Antwerpen 1675). München, J. Stuntz, 1811-1816. Oblong chalk lithograph, showing shepherds with sheep, goats, a dog, cows, men on horseback, camels, a woman on a camel; in the distance mountains and a town. Lettered below in the plate "DB 1664" and in lower margin "A: Dieppenbeck." and "N: Strixner del:". 22,2 x 27 cm. (# 5904)

Winkler No. 965, 63.5. Dussler, (München II), No.LXIII,5. Nagler, Monogrammisten, II, No. 959. Incunable of lithography. Johann Nepomuk Strixner was lithographer in München. Abraham van Diepenbeeck, a pupil of Rubens, was a designer of stained glass and painter; he is known for many hundreds of drawings, prints, and illustrations for books. "Vieherden und Hirten. Diese von rechts, einer den breiten Rücken uns zugewandt, die Hand nach links ausgestreckt, der andere nachdenklich rechts von ihm, Gesicht dreiviertel nach rechts. Links Schafe, Ziegen, Hund, Rinder, Männer auf Pferden, Kamele, ganz rechts Frau auf einem Kamel. Links in der Ferne Ebene Stadt und Berge" (Winkler). From: "Chr. von Mannlich. Les Oeuvres lithographiques. Contenant un choix de dessins d'après les grands maîtres de toutes les écoles, tiré des Musées de sa Majesté le Roi de Bavière." Published under the direction of Strixner, Ferdinand Piloty & Cie, by J. Stuntz in München, 1811-1816. Issued in 72 parts each of 6 sheets. - Ample margins.

Strixner, Nepomuk (Altötting 1782-München 1855). Hl. Katharina; after Bernardino Luini (Luini/Lago Maggiore 1480/85-Milano before 1532). München, 1817. Large chalk and pen lithograph printed with light yellow tone plate; showing St. Catherine of Alexandria, half-length, holding a palm leaf in her right hand, her left hand pointing upwards; the spiked wheel in the bottom right corner, a town and landscape in the distance. Lettered in lower margin "Luini pinx:" and "N. Strixner del:" 48,5 x 36,3 cm. (# 5903)

Winkler No. 831, 56. Dussler, (München IV), p. 168, No. 29. In database British Museum. Incunable of lithography. Johann Nepomuk Strixner was lithographer in München. Saint Catherine of Alexandria (female saint/martyr, early 4th c.) is venerated as Christian saint and virgin martyr, patron of education and learning; mystically 'married' to Christ. Said to have been executed by the Roman emperor Maxentius. Her attribute is a (broken) wheel, representing the first attempt to kill her when the wheel to which she had been tied was struck by a thunderbolt and destroyed. She was subsequently beheaded. From: "Chr. von Mannlich. Königlich Bayerischer Gemäldesaal zu München und Schleissheim". Published under the direction of Strixner, Ferdinand Piloty & Cie, 1817 ff. With 200 lithographs (the first 112 published until 1821, as incunables of lithography). - Ample margins.

Strixner, Nepomuk (Altötting 1782-München 1855). Judith mit dem Haupt des Holofernes; after a drawing by Andrea Mantegna (Isola di Carturo c. 1431-Mantua 1506). München, J. Stuntz, 1811-1816. Large chalk and pen lithograph printed in grey ink, showing Judith with her maid, putting the head of Holofernes in a sack, lettered below in the plate "A. Mantegna" and "N. Strixner del.". 42,5 x 30,7 cm. (# 5902)

Winkler No. 965, 24,6. Dussler, (München II), p. 144, No. XXIV,6. Weigel No. 4554. In database British Museum. Incunable of lithography. "Judith versenkt das Haupt des Holofernes in einen Beutel, den eine links stehende Bediente hinhält. Sie selbst ist von rückwärts gesehen, hält mit der linken Hand das Haupt, die rechte das Schwert. Gesicht im Profil nach links und unten" (Winkler). Johann Nepomuk Strixner was lithographer in München. From: "Chr. von Mannlich. Les Oeuvres lithographiques. Contenant un choix de dessins d'après les grands maîtres de toutes les écoles, tiré des Musées de sa Majesté le Roi de Bavière." Published under the direction of Strixner, Ferdinand Piloty & Cie, by J. Stuntz in München, 1811-1816. Issued in 72 parts each of 6 sheets. - Ample margins, a few light spots.

Strixner, Nepomuk (Altötting 1782-München 1855). Junger Lebemann (l'enfant prodigue), after Angelo Bronzino (Florence 1503-Florence 1572). München, J. Stuntz, 1811-1816. Oblong chalk and pen lithograph printed in brown ink, with heightening in white, showing two lovers and two servants. Lettered below within image "N. Strixner del:" and "Angelo Bronzino". 25,4 x 27,5 cm. (# 5901)

Winkler No. 965, 12,3. Dussler, (München II), p. 139, No. XII,3. Incunable of lithography. "Das Mädchen sitzt, wenig bekleidet, vorn nach links, und gibt eine Geldtasche einer alten Beschliesserin ganz links; rechts der junge Mann, Mitte hinten eine Dienerin" (Winkler). Johann Nepomuk Strixner was lithographer in München. Angelo Bronzino was a famous 16th century Italian painter. From: "Chr. von Mannlich. Les Oeuvres lithographiques. Contenant un choix de dessins d'après les grands maîtres de toutes les écoles, tiré des Musées de sa Majesté le Roi de Bavière." Published under the direction of Strixner, Ferdinand Piloty & Cie, by J. Stuntz in München, 1811-1816. Issued in 72 parts each of 6 sheets. - Ample margins.

Tardieu, Nicolas Henri (Paris 1674-Paris 1749). Le Couronnement d'épines (Christ crowned with thorns) after Antoine Dieu. Paris, Ve. de François Chereau, 1707. Fine engraving showing Christ sitting in a prison, his hands bound together, behind him an armoured soldier, to the right a kneeling man; signed underneath "A. Dieu inv. et pinxit. N. Tardieu scul." With five lines of French dedication in the plate's lower margin "A monseigneur Messire Marc René de Voyer de Paulmy, Chevalier Marquis d'Argenson, Conseiller du Roy... Lieutenant général de Police da la ville, Prevôte et Vicomte de Paris; Protecteur de l'Académie de St. Luc. Dédié par... Dieu Directeur et Professeur de la dite Académie en 1707." Two angels flanking Marc René de Voyer de Paulmy's arms in centre of bottom margin. 35,5 x 23, 3 cm. (# 5846)

Nagler XX, 257 No. 25. Le Blanc IV, 5, No. 27. Antoine Dieu (Paris 1662-Paris 1727), was director and professor of the Paris Académie de St. Luc, a painter's guild. The dedicatee Marc-René de Voyer de Paulmy d'Argenson (1652-1721) was minister and lieutenant-general of Police in Paris. He played a significant role in the attacks on Jansenism. He was also protector of the Académie de St. Luc. - Sharp impression with ample margins. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Torre, Flaminio (Bologna 1621-Modena 1661). Madonna col Bambino in gloria e i Santi Protettori di Bologna, Petronio, Francesco, Ignazio, Francesco Saverio, Procolo, Floriano, after Guido Reni. Bologna, c. 1640. Beautiful and very large etching, depicting St. Petronius and six other Patron Saints of Bologna interceding with the Virgin Maria, who sits on a rainbow with the Child Jesus on her knees; the city of Bologna is seen below; along the bottom with a three-line etched dedication in Italian by Flaminio Torre or Torri to the Infante Maria di Savoia and her arms in the centre; signed "Flaminio Torri". 62,7 x 38,5 cm. (# 5834)

Bartsch XIX, 215 No. 4: "très recherché". Nagler XXI, 208 No. 4: "Sehr selten". In database British Museum. Very rare. Flaminio Torre/Torri, painter and etcher in Bologna, was a pupil of Guido Reni (Bologna 1575-Bologna 1642). This etching was made after a votive processional banner painting by Guido Reni, which is now (framed) in the Pinacoteca Nazionale di Bologna. Commissioned by Bologna's Senate, Guido Reni's Pallione del Voto/Pala della Peste, served as the official banner in the civic votive procession celebrating the end of the 1630 plague. Every year it was carried in a procession from the Palazzo Pubblico to the church of San Domenico. - Small margins. Several wormholes affecting the plate, several tears repaired, paper slightly browned. Still an acceptable specimen of this very rare print.

Vaga, Perino del (Florence 1501 - Rome 1547), after. Thetis with two Tritons. Perrino del Vaga inv. 1560-1580. Beautiful engraving of the Greek sea goddess Thetis standing naked holding a trident in her right hand, her cloak in her left, below are two tritons (seegods), the one at the left holds her trident, the one at right her cloak, engraved after Perino del Vaga. 23 x 16 cm. (# 2209)

Bartsch 15, 398 No. 33 (under Ghisi). Bellini, 303 F.22. Nagler II, 252. Exhibition catalogue 'Incisiori Mantovani del' 500 Giovan Battista, Diana Scultori e Giorgio Ghisi', Rome, 1980 No. 196. Beautiful engraving after Perino del Vaga (Pietro Buonaccorsi). Formerly attributed to the engraver Giorgio Ghisi (Mantua 1520-Mantua 1582), nowadays to the school of Giorgio Ghisi. Rare 3rd state. - Very fine impression with margins.

Verdier, François (1651-1730). Recueil de plusieurs figures d'academie dessinées d'après le naturel par F. Verdier peintre ordinaire du Roy et gravées par J. Bap. de Poilly. Paris, rue St. Jacques a la belle Image C(um).P(rivilegio).R(egis). (1747?). 7 (of 18) engraved plates showing male nudes, possibly representing pagan deities from Greek mythology. Folio, c. 26 x 20 cm on leaves of 32 x 23 cm. Bound together with original thread. (# 5812)

Thieme-Becker XXXIV, 233. Royal Academy of Arts, (on internet), No. 06/6059. French pattern book with life drawings, 'Academy' figures. The engraver Nicolas Jean-Baptiste de Poilly lived from 1712 - after 1758. - Without title and 10 plates. Dampstains, especially in blank margins; small hole in 1 plate, few blank margins frayed.

Verrazzano, G. Globus-karte vom Jahre 1530 in 12 Sektionen mit Angabe der Entdeckungen des Giovanni Verrazzano. München, Ludwig Rosenthal's Antiquariat, (1924). One sheet, 21,5 x 43,5 cm. (# 5766)

Photolithographic reproduction of the original Verrazzano-Globe, made in gilt brass, now in the Pierpont Morgan Library in New York. This globe of the world has been executed by Robert de Bailly in the year 1530 probably at Dieppe. It contains quotations of Giovanni Verrazzano's (1485 - 1528) discoveries and shows a division in meridians from 10 to 10°, containing from the the parallel circles only the equators, the tropics and the polar circles. America wears on the globe the name: "America, mondus novus" and is divided in 4 independant parts: North-, Central-, South America and the Islands. Among the names of the American territories mentioned are: Terra Magellani, Yvcatas, Cuba, Canibales. Very interesting is the fact that the results of Verrazzano's expeditions are quoted on the globe and that this territory is named "Terra Verrazana". The Austral-Land opposite the south point of America is named "Brasielie regio".

Vivares, François (Lodève 1709-London 1780). Landscape with a stream, a woman with basket and a man fishing, two boys to the left, after Gaetano Martorelli. London, F. Vivares, 1754. Fine large oblong etching and engraving, lettered below the image "Engraved from a Picture of Martorelli. Martorelli Pinxt. F. Vivares Sculp. Publishd Jany. 15th. 1754, by F. Vivares. 9". 39 x 49 cm. (# 5859)

Nagler XXIII, 214, No. 54. In database British Museum: "Landscape with a stream falling around a boulder into a deep pool in the foreground, broadening as it flows away into the right foreground, overshadowed by a steep rocky cliff on the right, covered with bushes and dead tree trunks, a woman carrying a basket and a man fishing on the near bank, two boys further to the left, near a path which winds through a hilly landscape extending into the distance on the left;... plate 9 from an unidentified series...". Second state (of 3), with plate number. François or Francis Vivares, a French and British engraver and publisher, was born in Lodève near Montpellier or in S.Jean de Bruel de Rouergue in 1709, worked in Paris and moved to London in 1727. He had a very high reputation in France and is considered to be one of the founders of the English school of landscape engraving. Gaetano Martorelli, a painter of landscapes from Napoli, was born c. 1670 and died 1723. - Trimmed within plate-mark, lower blank margin slightly thumbed.

Willroider, Josef (Villach 1838-München 1915). Am Wörthersee. Fine etching on chine collé; a landscape with to the right lake Wörthersee (Austria), in the front a woman with child on a path; to the left a person in front of a house and trees; a village in the distance; at bottom left signed in the plate "J. Willroider". 20 x 29,5 (plate mark). (# 5839)

Possibly identical with Le Blanc IV, 236, No. 5: "Paysage avec un Lac. In Fol. en larg." Josef Willroider, Austrian/German painter and etcher of landscapes, was born in Villach in Austria/Österreich, went to München in 1860, worked in Düsseldorf 1866-1889, returned to München where he died. He is wellknown for his paintings and etchings of landscapes in Kärnten and especially the Wörthersee. See: Thieme-Becker XXXVI, 35. - Contemporary annotation in pencil: "Am Wörther-See. Radierung v. Jos. Willroider". Sharp impression on strong paper; a few light brown spots.

Wit, Peter de (Candido) (Brugge ca. 1548 - München 1628), after. Dies (and) Nox. 1698. 2 very fine engravings showing personifications of Day and Night by Carl Gustav von Amling. Both ca. 28 x 16 cm. (# 2230)

Nagler XXIV, 481. Not in Fuhring. Von Amling (Nürnberg 1651 - München 1702) made these engravings after the famous gobelin tapestries in München, which were designed by Peter de Wit for Kurfürst Maximilian I, and which were woven by the Dutch Hans van d. Biest and other Dutchmen in the Hautelisse Manufaktur in München between 1604 - 1615. - Bright impressions with small margins. Pasted next to each other.

Wit, Peter de (Candido) (Brugge ca. 1548 - München 1628), after. Hiems, Ver, Aestas. 1698 - 1700. 3 very fine engravings (of 4, without autumn) showing personifications of winter, spring and summer by Carl Gustav von Amling. ca. 285-295 x 163 mm. (# 5464)

Thieme-Becker V, 493-494 no. 23b. Nagler XXIV, 481. Not in Fuhring. Von Amling (Nürnberg 1651 - München 1702) made these engravings after the famous gobelin tapestries in München, which were designed by Peter de Wit for Kurfürst Maximilian I, and which were woven by the Dutch Hans van d. Biest and other Dutchmen in the Hautelisse Manufaktur in München between 1604 - 1615. - Good impressions with very large margins. Slightly foxed, Aestas foxed.

Woelfle, Johann (Endersbach 1807-Faurndau 1893). Rückkehr von einem Viehmarkte. Retour d'un marché au bétail. After Heinrich Marr (Hamburg 1807-München 1871). (München, c. 1840). Fine oblong lithograph on white paper; a cattle market in Oberbayern, in the foreground a dog and a rich peasant on horseback, a sheep hanging from his saddle; to the right peasants in folklore costumes trading horses; in the background the Bavarian alps and the roofs of a village; lettered at bottom with title in German and French (see above) and with producers names "Gemalt v. Marr", "Gedr. v. Th. Kammerer", "Bei H. Kohler auf Stein gez. v. J. Woelfle". 29,4 x 33,5 cm. (# 5895)

Nagler XXIV, 521 No. 64. Slg. Mailinger, II, No. 2486. For Heinrich Kohler's (Stuttgart 1808-München 1885) "Sammlung der vorzüglichsten Werke neuerer deutscher Meister aus allen Fächern der Kunst in lith. Abb.". - Mounted, ample margins, light stain in blank lower right margin.