17th Century Prints and Multiples

Giosuè 6 - Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco after Agostino Carracci. About The Old Testament Story, 1607 ca. Passpartout included ...

Exodus 2 - Old Testament Story is an Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout in...

Genesis 37 - Old Testament Story is an Etching print realized by the artist Sisto Badalocchio. About The Old Testament Story, 1607 ca. Passpartout ...

Genesis 1 - Old Testament Story is an Etching print realized by the artist Giovanni Lanfranco. About The Old Testament Story, 1607ca. Passpartout included 29 x 39 cm The artwork ...

The Chariot of Gods is anold master artwork realized by Antonio Tempesta in 17th Century. Black and white etching. Good condition. Ref. Bertela 801 Plate dimensions: 14 x 19 cm

"Mythological Scene--Satyr & Goat Herder" is an etching by Italian artist Giovanni Benedetto Castiglione. It depicts a satyr lounging on the left and an approaching goat herder o...

Le couvent dans la vallée is an original etching realized in the 17th Century by Antoine-François Bauduins (1640 1700). Trimmed, very good conditions. Signed on the plate. The art...

Ancient view of Vindesorium (Windsor) is an old master artwork realized by George Braun and Franz Hogenberg in the Late 17th Century, as part of the famous Series "Civitates Orbis Te...

"Ram Eating Bark" is an original etching by Karel DuJardin. DuJardin completed many delicate etchings of rams. 3 3/4" x 7 3/4" art 16 3/8" x 19 1/8" f...

Paysages et ruines de Rome is an original artwork realized by Stefano Della Bella in 1646. Etching in paper, signed on plate on the left margin, es. II/VI. Th...

"The Meeting" is an original etching by Cornelis-Pietersz Bega. It depicts a confrontation between two groups of figures. Publisher: Pearce #48. 2 3/4" x 2 3/4" art 10 1/4" x 10 3/8...

Portrait of Cardinale Retz is an original Etching, realized by Stephan Picart in 1652. The status of preservation Good. The artwork is depicted skillfully through confident and str...

Plates of Old Testament is a wonderful black and white set of prints realized by the Italian master Antonio Tempesta (1555-1630) in the XVII century. The ten plates depicting scenes of the Old testament WITH Inscriprions on plates They are mounted on a cardboard passepartout and in a gilded frame. Antonio Tempesta, also known as Il Tempestino (Florence, 1555 - Rome, 1630), was an Italian painter and engraver of the early Baroque period. Antonio Tempesta trained in the culture of late Mannerism, with a naturalistic but also calligraphic taste, acquired from the frequentation of Giovanni Stradano, with whom he collaborated in the decoration of Palazzo Vecchio. Moving to Rome in 1573, he worked for Pope Gregory XIII, frescoing some maps of Rome in the Vatican, including the famous Map of Rome (1593). In the pontifical capital, he worked for many noble families and for important cardinals, such as Alessandro Farnese and Scipione Borghese. His works are in San Giovanni dei Fiorentini, at the villa in Caprarola, in Tivoli. He returned to Florence for a brief stay, where he collaborated with Alessandro Allori...

Old Testament plates is a wonderful black and white set of prints realized by the Italian master Antonio Tempesta (1555-1630) in the XVII century. The eight plates depicting scenes of the Old testament with Inscriprions on plates They are mounted on a cardboard passepartout and in a gilded frame. Antonio Tempesta, also known as Il Tempestino (Florence, 1555 - Rome, 1630), was an Italian painter and engraver of the early Baroque period. Antonio Tempesta trained in the culture of late Mannerism, with a naturalistic but also calligraphic taste, acquired from the frequentation of Giovanni Stradano, with whom he collaborated in the decoration of Palazzo Vecchio. Moving to Rome in 1573, he worked for Pope Gregory XIII, frescoing some maps of Rome in the Vatican, including the famous Map of Rome (1593). In the pontifical capital, he worked for many noble families and for important cardinals, such as Alessandro Farnese and Scipione Borghese. His works are in San Giovanni dei Fiorentini, at the villa in Caprarola, in Tivoli. He returned to Florence for a brief stay, where he collaborated with Alessandro Allori...

The Human Skeleton is an original etching realized as plate no. 21 of Andrea Vesalio's "De Humani Corporis Fabrica". The "De Humani Corporis Fabrica i...

Character is an etching realized by a Flemish artist of 17th century. The little picture is in good conditions except for lack of paper on the edges and left corner. Small inscript...

Faun Parade is an original etching on paper realized by an Anonymous artist of the 17th Century. The state of preservation of the artwork ...

The Monkey is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions, except for some stains. Image Dimensions: 5 x 7 / 8 x 10 cm. Including a cream-colored cardboard passepartout, 34 x 50 cm. An exciting original print, with all the dignity of a mythological or epic story, represented with an incredible balance of black and white, light and shadow, and a typical Baroque dynamism. Antonio Tempesta, also known as Il Tempestino (Florence, 1555 - Rome, 1630), was an Italian painter and engraver of the early Baroque period. Antonio Tempesta trained in the culture of late Mannerism, with a naturalistic but also calligraphic taste, acquired from the frequentation of Giovanni Stradano, with whom he collaborated in the decoration of Palazzo Vecchio. Moving to Rome in 1573, he worked for Pope Gregory XIII, frescoing some maps of Rome in the Vatican, including the famous Map of Rome (1593). In the pontifical capital, he worked for many noble families and for important cardinals, such as Alessandro Farnese and Scipione Borghese. His works are in San Giovanni dei Fiorentini, at the villa in Caprarola, in Tivoli. He returned to Florence for a brief stay, where he collaborated with Alessandro Allori...

The fawn is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Image Dimensions: 5 x 7 / 8 ...

Ox is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions. Image Dimensions:...

The Donkey is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions. Including...

Portrait of Thomas Moore is an original etching on paper realized by Balthasar Moncernet in the second half of 17th Century. The state of preservation is good. With the descriptio...

Interior Meeting is an original etching realized in 17th century by an anonymous Master. With description in French on the bottom. Good conditions, except for some cutting and dif...

Saints Cosma et Damien is a precious and wonderful black and white etching, representing the saints, realized by Hieronymus Verdussen (active during the XVII century) in a very detai...

St. Matthew is an original etching artwork on paper realized by an anonymous artist of the XVII century. Sheet dimension:21 x 14 Good conditions except for the trace of humidity on...

St. James is an original etching artwork on paper realized by an anonymous artist of the XVII century. Sheet dimension:21 x 14 Good conditions. The artwork represents St. James. T...

This Vegel is an original etching realized in 1616 by George Braun (1541 – 1622) The state of preservation of the artwork is good but aged with trace of foxing that doesn't affect ...

Palamonis et Pachomii is a beautiful hand-watercolor etching realized by the Flemish artist Raphael Sadeler (Anvers, Antwerpen 1560 - Munich between 1628 and 1632), after a drawing b...

Original etching by G.B. Falda. Very good conditions. This artwork is shipped from Italy. Under existing legislation, any artwork in Italy created over 70 years ago by an artist who...

Braun G., Hogenberg F., "Vienna", from the collection "Civitates Orbis Terrarum", Cologne, T. Graminaeus, 1572-1617. Image Dim: cm 15 x 47, Dim: cm 20 x 53. Wonderful B/W Aquatint r...

Carlo Maratti: 1625-1713. Very well listed 17 century Italian master. He has had Auction results over $1 million for a painting and over $4000 for an etching. He often printed etchin...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains, villas, gardens and public spaces of Baroque Rome. The series was published in Rome under the direction of Giovanni Giacomo de’ Rossi (1627–1691), an important Italian print publisher whose firm produced some of the most influential architectural and topographical views of 17th-century Rome. The four-part Fountains of Rome series was created by Italian artists and engravers Giovanni Battista Falda (1643–1678) and Giovanni Francesco Venturini (active circa 1650–1700) under the directions of Giovanni Giacomo de'Rossi. Published together by De Rossi in 1691, the complete project comprised more than one hundred plates and became an important visual record of Baroque Rome. These detailed Italian architectural etchings depict not only fountains but also architecture, sculpture, formal gardens, piazzas and small figures that bring the historic settings to life. Examples from the Fountains of Rome series are preserved in major institutional collections, including The Metropolitan Museum of Art and Smithsonian Libraries. Each original etching was printed on period paper in the 1600s and retains the individual characteristics associated with a work more than four centuries old. Natural toning, scattered foxing, creases, irregular paper edges and other variations may be present and are consistent with authentic antique works on paper. These antique Italian architectural prints...

An original Italian architectural etching dating to 1691 or after from Le Fontane di Roma, the celebrated series documenting the fountains...

This authentic 18th-century Italian engraving presents a view of Rome by Giuseppe Vasi (1710–1782), one of the most important architectural printmakers working in the city before Pir...

This authentic 18th-century Italian engraving presents a view of Rome by Giuseppe Vasi (1710–1782), one of the most important architectural printmakers working in the city before Pir...

This authentic 18th-century Italian engraving presents a view of Rome by Giuseppe Vasi (1710–1782), one of the most important architectural printmakers working in the city before Pir...

This authentic 18th-century Italian engraving presents a view of Rome by Giuseppe Vasi (1710–1782), one of the most important architectural printmakers working in the city before Pir...

This authentic 18th-century Italian engraving presents a view of Rome by Giuseppe Vasi (1710–1782), one of the most important architectural printmakers working in the city before Pir...

This authentic 18th-century Italian engraving presents a view of Rome by Giuseppe Vasi (1710–1782), one of the most important architectural printmakers working in the city before Pir...

This authentic 18th-century Italian engraving presents a view of Rome by Giuseppe Vasi (1710–1782), one of the most important architectural printmakers working in the city before Pir...

This authentic 18th-century Italian engraving presents a view of Rome by Giuseppe Vasi (1710–1782), one of the most important architectural printmakers working in the city before Pir...

This authentic 18th-century Italian engraving presents a view of Rome by Giuseppe Vasi (1710–1782), one of the most important architectural printmakers working in the city before Pir...

This authentic 18th-century Italian engraving presents a view of Rome by Giuseppe Vasi (1710–1782), one of the most important architectural printmakers working in the city before Pir...

Artist: Dirk Stoop (Dutch, c.1615-1686) Title: "Het Leeuwendeel (The Lion's Share)" (Plate 3) Portfolio: The Fables of Aesop Year: 1665 (an earlier state of unknown states) Medium: O...

Artist: Abraham Hondius (Dutch, c.1625-1691) Title: "Honden Jagen Op Een Beer (Hounds Hunting a Bear)" *Signed and dated by Hondius in the plate (printed signature) lower right Year...

Robert Morden (British, circa 1650 – 1703) A map of Cumberland with hand colouring An engraving 14.1/4 x 16.5/8 in. (36.5 x 42.5 cm.)

ROY LICHTENSTEIN (1923-1997) Roy Lichtenstein's 'Entablature II' is a Screenprint, lithograph and collage in colors with embossing on Rives BFK paper. Signed, dated and numbered in ...

Paradisi in Sole Paradisus Terrestris by John Parkinson (1567-1650) Original 17th century wood-cut prints by one of the first great English botanists. Original 17th century wood-cut...

Paradisi in Sole Paradisus Terrestris by John Parkinson (1567-1650) Original 17th century wood-cut prints by one of the first great English botanists. Original 17th century wood-cut...

Paradisi in Sole Paradisus Terrestris by John Parkinson (1567-1650) Original 17th century wood-cut prints by one of the first great English botanists. Original 17th century wood-cut...

David Loggan (1634-1692) Prospectus Cantabrigiae Orientalis & Occidentalis Engraving 32 x 46 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. ...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) Christ's College, Cambridge (1690) Engraving 39 x 48 cm Loggan's view of College, Cambridge from the 'Cantabrigia Illustrate', with later hand colouring. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) Wadham College, Oxford (1675) Engraving 32 x 41 cm Loggan's view of Wadham from the 'Oxonia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

To see our other original maps, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the poster you want....