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Bildformat: 153 x 107 mm. Blattgröße: 217 x 140 mm. *Pauline Virginie Dejazet (1798-1875) war eine berühmte französische Schauspielerin. Sie stand bereits mit 5 Jahren auf der Bühne. 1834 ging sie an das Theatre du Palais Royale. 1859 übernahm sie die Leitung des Theatre des Folies-Dramatiques. Karl Moritz von Beurmann sagte über sie: „Sie ist die Königin der Vaudevilles, die Grisette par excellence, die reizendste und liebenswürdigste Sünderin von Paris, die geistreichste und witzigste Salondame der Hauptstadt.“ - Aus der Kupferstichfolge: "Petite galerie dramatique", die 1796-1843 in Paris erschien. - Sauber und sehr gut erhalten. Graphiken de
Bildformat: 153 x 107 mm. Blattgröße: 217 x 140 mm. *Mlle Bertault war eine französische Sängerin und wirkte von 1841-1847. - Aus der Kupferstichfolge: "Petite galerie dramatique", die 1796-1843 in Paris erschien. - Sauber und sehr gut erhalten. Graphiken de
Bildformat (Einfassungslinie): 34 x 25,3 cm. Blattgröße 47 x 35,5 cm. *Zeigt Friedrich Wilhelm IV, den Sohn von König Friedrich Wilhelm III in Uniform mit Ordenspange. 1840 wurde Friedrich Wilhelm IV König von Preussen. - Großes breitrandiges Blatt. Graphiken de
Format: 36 x 36 cm. Alt montiert auf Untersatzkarton (60 x 48 cm). *Das ursprüngliche Gemälde war eine runde Schützenscheibe zum Herzogschießen am 8. & 9. September 1872 in Schliersee, die damals allseits bekannte Militärmaler Louis Braun gestiftet hatte. Davon wurde von dem berühmten bayerischen Hofphotographen Josef Albert eine großformatige Fotografie angefertigt. - Provenienz: Sammlungen Wittelsbach. Fotografien de
A clean, unmarked book with a tight binding. 9 1/2"w x 12 1/4"h. 128 pages. 64 colour plates and around 275 monochrome illustrations. Text in Italian
Format Plattenrand: 32 x 25 cm. (Blattgröße: 45,5 x 32,5 cm). Gedruckt auf kräftiges Büttenpapier mit Wasserzeichen "Van Gelder Zonen", unten mittig mit kleinem Blindprägestempel "Photographische Gesellschaft Berlin". *Schönes ausdrucksstarkes Porträt. - Die "Photographische Gesellschaft Berlin" war ein Kunstverlag, gegr. 1862 von Emil und Albert Werckmeister. Zunächst wurden klassische Kupferstiche in Photographie veröffentlicht und Reproduktionen direkt nach Ölgemälden. Gegen Ende des 19. Jahrh. leistete die Firma Hervorragendes in der Technik der Photogravüre. Galeriewerke und zahlreiche Einzelbilder wurden per Kataloge an Kunsthandlungen vertrieben. Die Photogravüre (auch Heliogravüre genannt), war ein fotografisches Edeldruckverfahren im Tiefdruck auf gelatinebeschichtete Kupferplatten (ein Vorläufer des späteren Kupfertiefdrucks). Als eine Weiterentwicklung des alten Aquatinta-Verfahrens schon in der ersten Hälfte des 19. Jahrh. begonnen, wurde es mit der Heliogravüre möglich, Fotos und Illustrationen durch ein aufwendiges fotomechanisches Druckverfahren so zu reproduzieren, dass sich echte und sehr differenzierte Halbtöne darstellen und eine ausdrucksstarke plastische Tiefenwirkung des Bildes erzeugen lassen. Mit den technischen Verbesserungen gegen Ende des 19. Jahrh. wurde die Heliogravüre das beherrschende graphische Verfahren insbesondere für anspruchsvolle und künstlerische Photographie und andere Bildvorlagen. - Vollrandiges Blatt in sehr guter Erhaltung. Graphiken de
18,5 x 13 cm. Beschnitten bis zum oder über den Plattenrand. In älterer Zeit an den Ecken auf kartoniertes Papier montiert. *Brustporträt des Lorenz Rame oder Ramäus. Er war ein österreichischer General, starb 1613 durch Enthauptung. Knapp beschnitten. Graphiken de
88pp.texte + 124 planches hors-texte, br.orig., bon état
This is a very good hardcover copy privately bound in blue buckram with gilt title on the spine. Completely clean outside, a few foxing spots inside to preliminaries and more to last 15 pages (table of contents and last pages of artists' biographical notices) and rear endpaper. Otherwise very clean throughout. This is the limited edition of 15 numbered copies on Van Gelder paper and issued in printed wrappers, later bound in cloth. Many tipped-in black & white plates. 10" high X 7" wide, 276 pages. This book will be securely wrapped and packed in a sturdy box and shipped with tracking. Chap Book
A clean, unmarked book with a tight binding. 8 5/8"w x 10 5/8"h. 176 pages.
Ritratto di Leopoldo I d'Asburgo, firmato da Nicolò Billy “il vecchio”. L’opera appartiene ad una rarissima serie di incisioni di personaggi illustri, probabilmente mai pubblicata come raccolta. Non è noto sapere il numero delle incisioni che compongono la raccolta; sicuramente molto più delle 8 tavole - tra l’altro, erroneamente attribuite a Nicolò Billy “il giovane” - nel catalogo dell’Istituto d'Arte "Duccio di Buoninsegna" di Siena, che apparentemente possiede la collezione più grande di questi bellissimi ritratti. Solo uno dei ritratti è tra gli 11 in nostro possesso. Pertanto, il numero delle lastre conosciute sale, quantomeno, a 18. Nicolò o Nicola Billy “il vecchio” fu incisore, calcografo e mercante di stampe, occasionalmente anche disegnatore. Di origine francese, legato a Giacomo (Jacques Belly) e Vincenzo Billy, a lui affini per attività, fu attivo a Roma dalla fine del Seicento alla prima metà del Settecento. Apparentemente il primo della dinastia; poco chiari i repertori tanto sul genere e sugli estremi cronologici della sua attività, quanto sui rapporti che lo legarono ai figli Antonio e Nicola. Quale "intagliatore e mercante di stampe" sottoscrisse "vicino all'Orologgio della Chiesa Nuova", "a San Salvatore di Lavoro" e "vicino a Pasquino". Quale incisore lavorò per i più abili mercanti di stampe romani, da Giovanni Marco Paluzzi a Vincenzo Billy "alla Chiesa Nuova", dal Komarek ai molti membri della calcografia De Rossi "alla Pace": vasta fu la produzione incisoria, talora dai repertori ignorata o talora (tranne le generiche assegnazioni del Gori Gandellini, 1771, che gli dà come collaboratore il figlio Antonio) confusa con quella del figlio Nicola, anche per l'identità di firma. Il carattere più artigianale che artistico, la resa diseguale, l'incisione a tratti spesso rozzi e sbrigativi, può far attribuire al Billy un gruppo di stampe: soggetti religiosi e ritratti in specie. Come editore ristampò molte delle opere di Pietro Testa. Acquaforte e bulino, 1685 circa, firmata in lastra in basso. Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione. Molto rara. Bibliografia Fabia Borroni, BILLY, Nicola, il Vecchio in “Dizionario Biografico degli Italiani” - Volume 10 (1968); Ch. Le Blanc, Manuel de l'amateur d'estampes, I, Paris 1854, p. 340, con un elenco di 47 pezzi ascrivibili ai due Nicola Billy. Portrait of Leopold I, Holy Roman Emperor, signed by Nicolò Billy "the elder". The work belongs to a very rare series of engravings of famous people, probably never published as a collection. It is not known how many engravings compose the collection; certainly, far more than the 8 plates -among other things, erroneously attributed to Nicolò Billy "the younger" - in the catalog of the "Duccio di Buoninsegna" Art Institute in Siena, which apparently own the largest collection of these beautiful portraits. Only one of the portraits is among the 11 in our possession. Therefore, the number of known plates rises, at the very least, to 18. Nicolò or Nicola Billy “the elder” was an engraver, publisher and print dealer, occasionally also a draughtsman. Of French origin, related to Giacomo (Jacques Belly) and Vincenzo Billy, who were related to him in activity, he was active in Rome from the late seventeenth Century to the first half of the eighteenth Century. Apparently the first of the dynasty; unclear repertoires as much on the genre and chronological extremes of his activity as on the relations that bound him to his sons Antonio and Nicola. As an "engraver and merchant of prints," he subscribed near the “Orologgio della Chiesa Nuova”, “in San Salvatore di Lavoro” and “vicino a Pasquino”. As an engraver he worked for the most skilled Roman print dealers, from Giovanni Marco Paluzzi to Vincenzo Billy “alla Chiesa Nuova”, from Komarek to many members of the De Rossi Family “alla Pace”: vast was his engraving production, sometimes ignored by the repertories or sometimes (except for the generic assignments of Gori Gandellini, 1771, which gives him as collaborator his son Antonio) confused with that of his son Nicola, also because of the identity of signature. The more artisanal than artistic character, the uneven rendering, the engraving with often crude and hasty strokes, may attribute a group of prints to Billy: religious subjects and portraits in particular. As a publisher he reprinted many of Pietro Testa's works. Etching and engraving, 1685 circa, signed in plate at the bottom. Magnificent proof, rich in tone, impressed on contemporary laid paper, trimmed to the platemark, in perfect condition. Very rare. Bibliografia Fabia Borroni, BILLY, Nicola, il Vecchio in “Dizionario Biografico degli Italiani” - Volume 10 (1968); Ch. Le Blanc, Manuel de l'amateur d'estampes, I, Paris 1854, p. 340, con un elenco di 47 pezzi ascrivibili ai due Nicola Billy.
Two volumes. Fifty remarkable plates, after Petitot's miniature, portraits engraved by Luigi Ceroni, illustrating biographies of important figures from the era of King Louis XIV. Large 4to. 300 mm. All edges gold. Magnificently bound in full morocco leather, decorated in gold gilt with the arms of Louis XIV. Though rubbed in places, this sumptuous binding really reflects this highest style of the art in the 17th century. The plates and text are remarkably clean and beautifully presented. Jean Petitot (1607-1691) was a court painter to Louis XIV who specialized in enamel portrait miniatures. It is especially nice that a self-portrait is included in this impressive set. First edition. "Il a ete fait un premier tirage de 100 exemplaires (avec épreuves d'artistes) . sur papier de Chine, avant la lettre et . sur papier blanc, avant la lettre"--Vicaire. Manuel de l'Amateur de livres. A wonderful production. **PRICE JUST REDUCED! W139
128p. Profusely illustrated with numerous photographs. Folio. Original worn cloth backed decorated paper boards. **PRICE JUST REDUCED! WWI 10
ii + 218pp., 25cm., br.muette, peu de rousseurs, bon état, G88200
574 x 355 mm (Blattgröße: 520 x 720 mm *Winkler 954. Großformatige Lithographie nach Dürers Altargemälde "Paumgartner" vor der Restaurierung. Die rechte Figur des Münchner Paumgartner Tryptichons wird hier mit den später hinzugefügten Änderungen und Übermalungen (Landschaft und Pferd etc) als Franz von Sickingen dargestellt. Nach der Restaurierung 1902-1903 wurde das Altargemälde wieder in den Originalzustand von Dürer (ohne Hintergrund) zurückgeführt. - Sauber und gut erhalten. Graphiken de
Bulino, 1572 circa, tratta da Pictorum Aliquot Celebrium Germaniae Inferioris Effigies. Primo stato. La prima edizione viene pubblicata dalla vedova di Hieronymus Cock ad Anversa nel 1572. Pictorum aliquot celebrium Germaniae inferioris effiges, una serie di 23 ritratti di artisti dei Paesi Bassi, è pubblicato nel 1575 con imprint “In de Vier Winden”, una delle principali stamperie di Amsterdam. Sebbene alcuni abbiano suggerito che la serie è stata concepita dall'umanista Dominicus Lampsonius, che ha composto versi per accompagnare i ritratti, è più probabile che l'autore sia stato Hieronymus Cock, il fondatore della tipografia con sede “In de Vier Winden”. La serie è apparsa in un momento in cui l'interesse per la vita degli artisti stava crescendo e di conseguenza ha attraversato diverse edizioni e interpretazioni di altri editori. Ottime condizioni. Engraving, 1572 circa, from Pictorum Aliquot Celebrium Germaniae Inferioris Effigies. First state. The first edition published by the widow of Hieronymus Cock in Antwerp in 1572. The Pictorum aliquot celebrium Germaniae inferioris effiges, a series of 23 portraits of artists from the Low Countries, published in 1575 by In de Vier Winden, a leading Amsterdam printing house. Although some have suggested that the series was conceived by the humanist Dominicus Lampsonius, who composed verses to accompany the portraits, the author is more likely to have been Hieronymus Cock, the founder of In de Vier Winden. The series appeared at a time when interest in the lives of artists was growing and consequently went through multiple editions and reinventions by other publishers. Very good condition.
Incisione tratta dalla celebre Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa nel 1645. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked. Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.
Bulino, 1572 circa, tratta da Pictorum Aliquot Celebrium Germaniae Inferioris Effigies. Primo stato. La prima edizione viene pubblicata dalla vedova di Hieronymus Cock ad Anversa nel 1572. Pictorum aliquot celebrium Germaniae inferioris effiges, una serie di 23 ritratti di artisti dei Paesi Bassi, è pubblicato nel 1575 con imprint “In de Vier Winden”, una delle principali stamperie di Amsterdam. Sebbene alcuni abbiano suggerito che la serie è stata concepita dall'umanista Dominicus Lampsonius, che ha composto versi per accompagnare i ritratti, è più probabile che l'autore sia stato Hieronymus Cock, il fondatore della tipografia con sede “In de Vier Winden”. La serie è apparsa in un momento in cui l'interesse per la vita degli artisti stava crescendo e di conseguenza ha attraversato diverse edizioni e interpretazioni di altri editori. Ottime condizioni. Engraving, 1572 circa, from Pictorum Aliquot Celebrium Germaniae Inferioris Effigies. First state. The first edition published by the widow of Hieronymus Cock in Antwerp in 1572. The Pictorum aliquot celebrium Germaniae inferioris effiges, a series of 23 portraits of artists from the Low Countries, published in 1575 by In de Vier Winden, a leading Amsterdam printing house. Although some have suggested that the series was conceived by the humanist Dominicus Lampsonius, who composed verses to accompany the portraits, the author is more likely to have been Hieronymus Cock, the founder of In de Vier Winden. The series appeared at a time when interest in the lives of artists was growing and consequently went through multiple editions and reinventions by other publishers. Very good condition.
Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare”, con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked. Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.
Ritratto di Luigi XIV di Francia, il Re Sole, firmato da Nicolò Billy “il vecchio”. L’opera appartiene ad una rarissima serie di incisioni di personaggi illustri, probabilmente mai pubblicata come raccolta. Non è noto sapere il numero delle incisioni che compongono la raccolta; sicuramente molto più delle 8 tavole - tra l’altro, erroneamente attribuite a Nicolò Billy “il giovane” - nel catalogo dell’Istituto d'Arte "Duccio di Buoninsegna" di Siena, che apparentemente possiede la collezione più grande di questi bellissimi ritratti. Solo uno dei ritratti è tra gli 11 in nostro possesso. Pertanto, il numero delle lastre conosciute sale, quantomeno, a 18. Nicolò o Nicola Billy “il vecchio” fu incisore, calcografo e mercante di stampe, occasionalmente anche disegnatore. Di origine francese, legato a Giacomo (Jacques Belly) e Vincenzo Billy, a lui affini per attività, fu attivo a Roma dalla fine del Seicento alla prima metà del Settecento. Apparentemente il primo della dinastia; poco chiari i repertori tanto sul genere e sugli estremi cronologici della sua attività, quanto sui rapporti che lo legarono ai figli Antonio e Nicola. Quale "intagliatore e mercante di stampe" sottoscrisse "vicino all'Orologgio della Chiesa Nuova", "a San Salvatore di Lavoro" e "vicino a Pasquino". Quale incisore lavorò per i più abili mercanti di stampe romani, da Giovanni Marco Paluzzi a Vincenzo Billy "alla Chiesa Nuova", dal Komarek ai molti membri della calcografia De Rossi "alla Pace": vasta fu la produzione incisoria, talora dai repertori ignorata o talora (tranne le generiche assegnazioni del Gori Gandellini, 1771, che gli dà come collaboratore il figlio Antonio) confusa con quella del figlio Nicola, anche per l'identità di firma. Il carattere più artigianale che artistico, la resa diseguale, l'incisione a tratti spesso rozzi e sbrigativi, può far attribuire al Billy un gruppo di stampe: soggetti religiosi e ritratti in specie. Come editore ristampò molte delle opere di Pietro Testa. Acquaforte e bulino, 1685 circa, firmata in lastra in basso. Magnifica prova, ricca di toni, impressa su carta vergata coeva, con margini, in perfetto stato di conservazione. Molto rara. Bibliografia Fabia Borroni, BILLY, Nicola, il Vecchio in “Dizionario Biografico degli Italiani” - Volume 10 (1968); Ch. Le Blanc, Manuel de l'amateur d'estampes, I, Paris 1854, p. 340, con un elenco di 47 pezzi ascrivibili ai due Nicola Billy. Portrait of Louis XIV, le Roi Soleil, signed by Nicolò Billy "the elder". The work belongs to a very rare series of engravings of famous people, probably never published as a collection. It is not known how many engravings compose the collection; certainly, far more than the 8 plates -among other things, erroneously attributed to Nicolò Billy "the younger" - in the catalog of the "Duccio di Buoninsegna" Art Institute in Siena, which apparently own the largest collection of these beautiful portraits. Only one of the portraits is among the 11 in our possession. Therefore, the number of known plates rises, at the very least, to 18. Nicolò or Nicola Billy “the elder” was an engraver, publisher and print dealer, occasionally also a draughtsman. Of French origin, related to Giacomo (Jacques Belly) and Vincenzo Billy, who were related to him in activity, he was active in Rome from the late seventeenth Century to the first half of the eighteenth Century. Apparently the first of the dynasty; unclear repertoires as much on the genre and chronological extremes of his activity as on the relations that bound him to his sons Antonio and Nicola. As an "engraver and merchant of prints," he subscribed near the “Orologgio della Chiesa Nuova”, “in San Salvatore di Lavoro” and “vicino a Pasquino”. As an engraver he worked for the most skilled Roman print dealers, from Giovanni Marco Paluzzi to Vincenzo Billy “alla Chiesa Nuova”, from Komarek to many members of the De Rossi Family “alla Pace”: vast was his engraving production, sometimes ignored by the repertories or sometimes (except for the generic assignments of Gori Gandellini, 1771, which gives him as collaborator his son Antonio) confused with that of his son Nicola, also because of the identity of signature. The more artisanal than artistic character, the uneven rendering, the engraving with often crude and hasty strokes, may attribute a group of prints to Billy: religious subjects and portraits in particular. As a publisher he reprinted many of Pietro Testa's works. Etching and engraving, 1685 circa, signed in plate at the bottom. Magnificent proof, rich in tone, impressed on contemporary laid paper, with margins, in perfect condition. Very rare. Bibliografia Fabia Borroni, BILLY, Nicola, il Vecchio in “Dizionario Biografico degli Italiani” - Volume 10 (1968); Ch. Le Blanc, Manuel de l'amateur d'estampes, I, Paris 1854, p. 340, con un elenco di 47 pezzi ascrivibili ai due Nicola Billy.
Format (Bildbereich): 160 x 250 mm. Blattgröße: 455 x 570 mm. *Wurzbach (Kriehuber) 2388. Das Blatt wird als "Luise von Baden auf dem Totenbett" bezeichnet. Dass das Blatt von Kriehuber mit 1853 datiert ist, Luise aber erst im Juli 1854 starb, bleibt eine ungeklärte Diskrepanz. - Luise war das erste Kind von Großherzog Karl von Baden und Stéphanie de Beauharnais. Sie heiratete 1830 den Kronprinzen Gustav von Schweden, die Ehe wurde 1844 geschieden. - Seltenes Blatt, tadellos erhalten. Graphiken de
Format (Platte): 19,5 x 27 cm (Blattgröße: 27 x 34,5 cm). *Johann Steudner (1620-1666) war Prediger an St. Ulrich in Augsburg, er leitete als Ephorus das Evangelische Kollegium Sankt Anna. Steudner war ein Kenner der Kabbala und zählte zum Freundes- und Arbeitskreis um Prinzessin Antonia von Württemberg. Sein bedeutendstes Werk ist die 1665 veröffentlichte "Jüdische ABC-Schul". - Darstellung des Verstorbenen auf dem Totenbett als Einblattdruck in Kupferstich. - 2 kleine Nadellöchlein in der oberen rechten Ecke, hinterlegter Randeinriss oben rechts. Graphiken de
A clean, unmarked book with a tight binding. Light wear to cover. 8 1/2"w x 11 7/8"h. 60 pages. Dora Kallmus' subjects included Josephine Baker, Coco Chanel, Tamara de Lempicka, Alban Berg, Maurice Chevalier, Colette, and other dancers, actors, painters, and writers.
Unpaginated. "Filled with the faces of some of Canada's most outstanding women - joyous, defiant, searching, serene, and each one beautiful in her own way." - from front flap. Usual library markings. Average wear. Sound copy. Book
Ritratto del Doge Marcantonio Giustinian, firmato da Nicolò Billy “il vecchio”. L’opera appartiene ad una rarissima serie di incisioni di personaggi illustri, probabilmente mai pubblicata come raccolta. Non è noto sapere il numero delle incisioni che compongono la raccolta; sicuramente molto più delle 8 tavole - tra l’altro, erroneamente attribuite a Nicolò Billy “il giovane” - nel catalogo dell’Istituto d'Arte "Duccio di Buoninsegna" di Siena, che apparentemente possiede la collezione più grande di questi bellissimi ritratti. Solo uno dei ritratti è tra gli 11 in nostro possesso. Pertanto, il numero delle lastre conosciute sale, quantomeno, a 18. Nicolò o Nicola Billy “il vecchio” fu incisore, calcografo e mercante di stampe, occasionalmente anche disegnatore. Di origine francese, legato a Giacomo (Jacques Belly) e Vincenzo Billy, a lui affini per attività, fu attivo a Roma dalla fine del Seicento alla prima metà del Settecento. Apparentemente il primo della dinastia; poco chiari i repertori tanto sul genere e sugli estremi cronologici della sua attività, quanto sui rapporti che lo legarono ai figli Antonio e Nicola. Quale "intagliatore e mercante di stampe" sottoscrisse "vicino all'Orologgio della Chiesa Nuova", "a San Salvatore di Lavoro" e "vicino a Pasquino". Quale incisore lavorò per i più abili mercanti di stampe romani, da Giovanni Marco Paluzzi a Vincenzo Billy "alla Chiesa Nuova", dal Komarek ai molti membri della calcografia De Rossi "alla Pace": vasta fu la produzione incisoria, talora dai repertori ignorata o talora (tranne le generiche assegnazioni del Gori Gandellini, 1771, che gli dà come collaboratore il figlio Antonio) confusa con quella del figlio Nicola, anche per l'identità di firma. Il carattere più artigianale che artistico, la resa diseguale, l'incisione a tratti spesso rozzi e sbrigativi, può far attribuire al Billy un gruppo di stampe: soggetti religiosi e ritratti in specie. Come editore ristampò molte delle opere di Pietro Testa. Acquaforte e bulino, 1685 circa, firmata in lastra in basso. Magnifica prova, ricca di toni, impressa su carta vergata coeva, con margini, in perfetto stato di conservazione. Molto rara. Bibliografia Fabia Borroni, BILLY, Nicola, il Vecchio in “Dizionario Biografico degli Italiani” - Volume 10 (1968); Ch. Le Blanc, Manuel de l'amateur d'estampes, I, Paris 1854, p. 340, con un elenco di 47 pezzi ascrivibili ai due Nicola Billy. Portrait of Marcantonio Giustinian, Doge of Venice, signed by Nicolò Billy "the elder". The work belongs to a very rare series of engravings of famous people, probably never published as a collection. It is not known how many engravings compose the collection; certainly, far more than the 8 plates -among other things, erroneously attributed to Nicolò Billy "the younger" - in the catalog of the "Duccio di Buoninsegna" Art Institute in Siena, which apparently own the largest collection of these beautiful portraits. Only one of the portraits is among the 11 in our possession. Therefore, the number of known plates rises, at the very least, to 18. Nicolò or Nicola Billy “the elder” was an engraver, publisher and print dealer, occasionally also a draughtsman. Of French origin, related to Giacomo (Jacques Belly) and Vincenzo Billy, who were related to him in activity, he was active in Rome from the late seventeenth Century to the first half of the eighteenth Century. Apparently the first of the dynasty; unclear repertoires as much on the genre and chronological extremes of his activity as on the relations that bound him to his sons Antonio and Nicola. As an "engraver and merchant of prints," he subscribed near the “Orologgio della Chiesa Nuova”, “in San Salvatore di Lavoro” and “vicino a Pasquino”. As an engraver he worked for the most skilled Roman print dealers, from Giovanni Marco Paluzzi to Vincenzo Billy “alla Chiesa Nuova”, from Komarek to many members of the De Rossi Family “alla Pace”: vast was his engraving production, sometimes ignored by the repertories or sometimes (except for the generic assignments of Gori Gandellini, 1771, which gives him as collaborator his son Antonio) confused with that of his son Nicola, also because of the identity of signature. The more artisanal than artistic character, the uneven rendering, the engraving with often crude and hasty strokes, may attribute a group of prints to Billy: religious subjects and portraits in particular. As a publisher he reprinted many of Pietro Testa's works. Etching and engraving, 1685 circa, signed in plate at the bottom. Magnificent proof, rich in tone, impressed on contemporary laid paper, with margins, in perfect condition. Very rare. Bibliografia Fabia Borroni, BILLY, Nicola, il Vecchio in “Dizionario Biografico degli Italiani” - Volume 10 (1968); Ch. Le Blanc, Manuel de l'amateur d'estampes, I, Paris 1854, p. 340, con un elenco di 47 pezzi ascrivibili ai due Nicola Billy.
